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‘BY THE METROPOLITAN 1 
OF ART 
JANUARY, 192 


Pelee 


Less than ten years ago our classical collections were 
installed in Wing J and a descriptive handbook was pub- 
lished. Since then we have so completely outgrown our 
quarters that an extension into Wing K has become neces- 
sary. This fifth edition of the Handbook has been rewrit- 
ten to include additions made since 1917 and to serve 
as a guide to the collections in their new arrangement. 


| 
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CONTENTS 


PREFACE . 
ILLUSTRATIONS 


INTRODUCTION 
The Present Collection and Its Arrangement . 
Value and Appreciation of Greek Art 


BIBLIOGRAPHY 


HANDBOOK OF THE CLASSICAL COLLECTION 
First Room with Annex 
Prehistoric Greek Period, about 3500-1100 
B.C: 
Second Room 
Early Greek Period, about 1100-550 B.c. . 
Third Room 
Archaic Period, Sixth Century B.c. 
Fourth Room and Eastern Colonnade of Wing K 
First Half of V Century B.c. 
Fifth Room 
Second Half of V Century B.c. . 
Sixth Room 
Fourth Century B.c. . 
Seventh Room 
Hellenistic Period, III-I Century B.c. . 
Eighth Room 
Hellenistic and Roman Imperial Periods, 
II] Century B.c.—I Century a.p. . 
Central Hall of Wing J 
Greek Sculptures, VI-I Century B.c. 


PAGE 


100 
144 
107 


189 


211 


230 


Viil CONTENTS 


Court of Wing K: Garden and Northern, 
Western, and Southern Colonnades 
Roman Imperial Period, 31 B.c.-Fourth 
Century A.D. 
Sardis Gallery . 
Jewelry Room . 


INDEX. 


PAGE 


284 
321 
325 


337 


PabwolRATIONS 


FIGURES 1-238 in general reproduce objects in the 
classical collection and are placed in the text as near to the 
descriptions of the objects they illustrate as practicable. 
The cover design, vignette on the title-page, and most of 
the head-bands and tail-pieces used for decoration in the 
chapters have been drawn from the objects themselves; 
the cover design by Lindsley F. Hall of the Museum staff, 
the others by Edward B. Edwards. The following list of 
these is printed for the convenience of the student of 
ornament. 


Cover DeEsicn: From a Roman fresco 
Southern Colonnade 


VIGNETTE ON TITLE-PAGE: From a fifth-century 
krater meen or eh ases/,e Fourth Room 


INTRODUCTION 
Head-band: From a sixth-century kylix 
Case A, Third Room 
Tail-piece: From a fifth-century oinochoé 
Case A, Eastern Colonnade 


BIBLIOGRAPHY 
Head-band: From a Roman table 
Court of Wing K 
Tail-piece: From the Kybele chariot 
Case S, Western Colonnade 


First Room 
Head-band: From avase found at Pachyam- 
Re 8 ee, Pedestal X 


Le DOS REA Ie GOAN Ss 


Tail-piece: From the Snake-Goddess group 
Case V 


SECOND RooM 
Head-band: From a geometric amphora 
Case N 
Tail-piece: From a Corinthian vase. . Case L 


THIRD Room 
Head-band: From the inside of an Athenian 
krater ... . Case |, Dailyiiesxnini 
Tail-piece: From the Etruscan chariot Case O 


FouRTH RooM AND EASTERN COLONNADE OF WING K 
Head-band: From an Athenian pyxis 

Pedestal P, Fourth Room 

Tail-piece: From a bronze handle . . CaseA 


FirTH Room 
Head-band: From the Erechtheion. . Case L 
Tail-piece: From a bronze mirror . . Case F 


SIXTH ROOM , 
Head-band: From the “Tholos” at Epi- 
dauros -. . 3 
Tail-piece: From an Apulian plate. . Case T 


SEVENTH RooM 
Head-band: From a South Italian plate Case H 
Tail-piece: Antefix . . . On topoP@ases 


EIGHTH ROOM 
Head-band: Detail of a fresco from Bosco- 
reale 2 Se 
Tail-piece: From an Arretine bowl. . Case N 


CENTRAL HALL OF WING J 
Head-band: Cornice of a fourth-century 
gravestones. ..0 ene Number 48 


Miah st RATIONS XI 


Tail-piece: Akroterion from a sixth-century 
et eONC te Number 32 


CouRT AND COLONNADES OF WING K 
Head-band: From a fresco from  Boscotre- 


ewe. = 6S * Southern Colonnade 
Tail-piece: From a fresco from _ Boscotre- 
oes. S| Outhern Colonnade 


SARDIS GALLERY 
Head-band: From a terracotta tile. . Case B 
Tail-piece: From a terracotta tile . . Case B 


JEWELRY Room 


Head-band: From a gold fibula . . CaseM 
Tail-piece: From a gold ornament . . Case M 
INDEX 


Head-band: From a Lydian vase 
Case A, Sardis Gallery 
Tail-piece: From a sixth-century kylix 
Case A, Third Room 


INTRODUCTION 


See EOE NT COLLECTION AND 
ITS ARRANGEMENT 


BEFORE 1905 the Museum owned only a few pieces 
of importance'—notably the Etruscan bronze chariot, 
purchased in 1903; the Boscoreale frescoes, purchased in 
the same year; a number of bronzes given by Henry G. 
Marquand in 1897; the Charvet Collection of ancient 
glass, also given by Henry G. Marquand; and the King 
Collection of engraved gems, presented by John Taylor 
Johnston in 1881. Besides these, we possessed only 
Bucchero vases, Hadra vases, a few pieces of Athenian 
pottery, and some miscellaneous objects, mostly of minor 
importance. 

Therefore our present collection has practically been 
created within the last twenty years. It has been formed 
by yearly purchases, mostly with the Rogers and Fletcher 
Funds, occasionally supplemented by generous gifts and 
loans. Of the gifts, the most important are a number of 
Greek bronzes and the Gréau Collection of Roman glass 
and pottery, given by J. Pierpont Morgan, a Greek marble 


1This is of course exclusive of the Cesnola Collection of antiquities 
from Cyprus, which forms a separate and individual whole. 


X1V INTRODUCTION 


head given by James Loeb, and a collection of Cretan 
sealstones and other antiquities bequeathed by Richard 
B. Seager.! 

Originally our classical collections were exhibited ac- 
cording to material, that is, all marble sculptures were 
placed together, all bronzes, all terracottas, all vases, and 
so on. In Wing J a different plan was tried—that of a 
series of period rooms grouped round a sculptural hall. 
In each gallery were placed the bronzes, terracottas, 
vases, glass, gems, beads, and other pieces which belong 
to one and the same epoch, the only exceptions being the 
larger sculptures which were put in the top-lighted central 
hall, and the objects of gold and silver which were segre- 
gated for reasons of safety. 

This chronological arrangement has proved such a suc- 
cess that it has been retained in our new installation. 
Indeed its advantages are apparent. Not only does the 
variety of material add to the general attractiveness of 
the rooms, but the visitor can obtain a more comprehen- 
sive idea of the gradual development of classical art in all 
its branches. For as he passes from one gallery to another 
the story of Greek art unfolds before his eyes. He can 
watch the successive stages of this art—the early struggles, 
the full achievement, and the gradual deterioration—in 
all the objects before him, of whatever material they 
happen to be. He can see at a glance what special classes 
of products were in vogue at different times. And more 
important still, he is able to make comparative studies 
between the various materials in each room, and trace 
relations between them. He will find many points of 


1The fine bronze portrait-head given by Benjamin Altman and a col- 
lection of Greek and. Roman pottery and glass given by Edward C. Moore 
belong to restricted collections and have had to be exhibited with them 
in Galleries K 33 and H 21 respectively. 


Pret OD UC TLON XV 


contact, for instance, between the figures on the Etruscan 
bronze chariot and those on the vases and the bronze 
statuettes in the same room, which will show him the de- 
pendence of Etruscan art on Greek models. He will learn 
how the bronze helmets and greaves were worn, by merely 
turning to the reliefs or to the vases in the same room, 
where warriors are depicted wearing them. He can see 
how certain fourth-century mirrors were used, by looking 
at a terracotta statuette in an adjoining case. And so on, 
in innumerable instances. 

The reasons why most museums have hitherto exhibited 
their classical collections by material rather than by period 
are easy to understand. Most of the important classical 
collections, those, for instance, in London, Paris, Berlin, 
and Munich, are so large that the material has become 
unwieldy. The vases, in particular, even if distributed, 
would swamp every gallery with their numbers. Some of 
the smaller collections, on the other hand, particularly in 
Italy, are often one-sided, being largely derived from 
special excavations. In our own classical collection, how- 
ever, conditions for period grouping were highly favorable. 
Though comparatively small, it is unusually representa- 
tive, having been formed largely by carefully selected 
purchases; so that it has been possible to arrange one or 
two rooms for each important period. 

The general plan, then, for the arrangement of our 
collection remains the inclusion of all our originals of 
Greek, Etruscan, and Roman art,! and the grouping of 
this material according to periods. But a number of 
shifts and adjustments have taken place. The Roman 
material has been moved to Wing K, where it occupies 
the central court as well as three of its colonnades. This 
includes the sculpture, glass, pottery, bronzes, and frescoes 


1Except, of course, duplicates or careless, unimportant pieces. 


XVI INTRODUCTION 


(except those from Boscoreale). The picturesque sur- 
roundings bring out to a surprising extent the highly 
decorative character of Roman art. The fourth (eastern) 
colonnade is devoted to Greek works of the first half of 
the fifth century moved from the much crowded Fourth 
Room. Adjoining this colonnade is the new Cesnola 
Gallery arranged in a way similar to the former grouping, 
so that J. L. Myres’s handbook can still serve as a guide 
to the collection. In the northern corner, with a safety 
door, is our new room of classical jewelry, at last brought 
into connection with the rest of the department. In 
Wing J the central hall now contains only Greek sculpture, 
archaic and fifth-century pieces in the northern half, 
fourth-century and Hellenistic ones in the southern por- 
tion. The collection of prehistoric art occupies the vesti- 
bule leading into the sculptural hall in addition to its old 
quarters in the adjoining First Room. A few of the ob- 
jects in the Second Room have been moved to the new 
Sardis Gallery in Wing K, and some of the objects in the 
Third Room have been moved to the Fourth Room. 
The Fifth Room has been made habitable by the removal 
of the exhibition of Greek and Roman life (installed there 
since 1924) to makeshift but at least conveniently accessi- 
ble quarters north of the Eighth Room. The Eighth 
Room, which has been emptied of most of its Roman con- 
tents, has shown hospitality to some of the Hellenistic 
objects in the Seventh Room. A _ new feature is the 
distribution of the Ward Collection of coins (formerly 
shown in the old Gold Room) in the period rooms. 

To the general rule of chronological grouping a few ex- 
ceptions have had to be made, as before. In trying to 
divide certain classes of objects according to definite 
periods, the border lines are sometimes difficult to draw; 
for there always is some overlapping. Every change is 


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XVI1L1 INTR ODUCT EON 


gradual; and often when a new type of vase or mirror or 
safety-pin has been introduced, the old ones linger on. 
In all these cases the objects have been placed in the period 
in which they were most in vogue, and of which they are 
the natural expression. 

In the Roman Imperial epoch it became the practice to 
make copies of Greek works of earlier periods. Though 
this applies chiefly to statues (see p. 245), it is also true of 
smaller pieces, especially of bronze statuettes. Where such 
copies are faithful reproductions of Greek originals, they 
have been included in the sections to which they stylisti- 
cally belong; only where the copyist introduced new ele- 
ments of his own have they been classed with works of the 
Roman period. | 3 

All the objects in our collection exhibited in these two 
wings are originals. Casts and reproductions are shown in 
other parts of the building. In only one room was an 
exception made to this rule—in the First Room, which 
illustrates Greek prehistoric art. Circumstances make 
it difficult to obtain any important originals from Crete, 
where excavations have recently brought to light the 
remains of a wonderful early civilization. In _ order, 
therefore, adequately to illustrate this important period 
of ancient art we have had exact copies made of many of 
the more remarkable wall-paintings and other objects, 
and these form the main part of the exhibits in the First 
Room. To these are added a number of original terra- 
cotta and stone vases and engraved stones, obtained 
at various times. To prevent confusion, each case 
is carefully labeled as containing either originals or 
reproductions. 

As stated above, the Cesnola Collection of antiquities 
from Cyprus has been kept separate from the rest of the 
classical collections, inasmuch as Cypriote art has an en- 


Prk OD UGTION X1X 


tirely local andindividual character. It includes, however, 
a few important pieces which are clearly products of pure 
Greek rather than Cypriote art, and which were perhaps 
imported. [hese have been incorporated with the rest 
of our Greek collections. 


eee APPRECIATION OF GREEK ART 


It may be of interest, before giving specific descriptions 
of our objects, to consider briefly the value and apprecia- 
tion of Greek art. Why is it that Greek art occupies a 
unique position and is even to this day worthy of the 
‘most detailed study? First of all, the Greeks, as has 
been well said, are our spiritual ancestors. It was they 
among all the ancient peoples that in politics, literature, 
philosophy, and also in art pointed the way which we 
have since followed, and thus laid the foundations of our 
Western civilization. For even though the classical 
civilization was lost during the Middle Ages, it was its 
revival in the days of the Renaissance which brought about 
that wonderful rebirth of culture on which we moderns 
have built our structure. Therefore, if we wish to under- 
stand our own civilization, and to know why it has taken 
the form which it has, we have to go to its originators, the 
Greeks. 

It is not only for historical reasons, however, that Greek 
art is an important study for us today. The Greeks were 
more than pioneers. In art and literature, at least, they 
achieved what may be termed perfection; and yet they 
started at the beginning. So, in seeing Greek art develop 
from its primitive origins, through many intermediate 
stages, to final excellence, we study the evolution of art; 
and this constitutes an artistic training of the first 
order. 


XX LDN TER'O DAG rehoOmN 


The chief value of Greek art, however, lies in its inherent 
beauty. The Greeks were one of the most artistic peoples 
the world has known, and there is no better way for the 
training of eye and taste than to spend some time in their 
company. They will supply a standard which will make us 
enjoy not only their art, but other arts, and which will 
help us to cultivate that discrimination between good and: 
bad which is essential in the training of both artist and 
student. Moreover, their conception of beauty is one of 
which we are much in need today. The calm remoteness 
which distinguishes their best works is in such contrast to 
the restlessness of modern life that it affects us like the 
quiet of a cathedral after the bustle and confusion of the 
streets. 

In order properly to appreciate Greek art we must also 
understand the Greek spirit. This is not difficult; for 
there is an essential likeness between the Greeks and our- 
selves. No such adjustment is necessary as in the study, 
for instance, of an Oriental and alien civilization. There 
are, however, certain differences which it is important to 
bear in mind. Perhaps the most prominent and far- 
reaching characteristic which distinguishes the Greek from 
us is that he was a “humanist.”” He humanized his religion 
and created his gods in human shape, of like passions to 
himself. He humanized nature and peopled the winds 
and rivers and fountains with creatures of human form. 
And he humanized life. In other words, to him “man was 
the measure of all things.” 

In his art this attitude is reflected in the importance 
siven to the representation of the human body and in the 
full realization of its beauty. It became the chief theme 
of the artist, and for several centuries its representation 
captivated his interest to the exclusion of almost all else. 
But this interest in physical beauty was not in any way 


PNERODUCTION XX1 


material. The Greek conception of a good life was a 
harmonious, many-sided existence, in which mind and body 
found full scope for rich development; so that beauty of 
body and beauty of mind and character were to the Greeks 
almost inseparable. Kavos xayados, “ beautiful and good,” 
is their expression for what we should call a gentle- 
man. What a fine blending of physical and mental beauty 
this ideal produced we can see in the types preserved us 
from the Greek art of the best period. For here the Greek 
sense of beauty found full expression. It showed itself 
not only in the unsurpassed loveliness of its productions, 
but in the elimination of all that is abnormal and extrava- 
"gant. It is in’ this sense that the Greek artist was an 
idealist. He felt that in art, which to him was the creation 
of beauty, everything extraneous to this object must be 
avoided. Hence also the restraint and sense of fitness 
which pervade all his works. 

Another important quality in which the Greeks differ 
from us is their directness. Their representations are al- 
ways straightforward and simple. If they wished to rep- 
resent the birth of the goddess of wisdom from the brain 
of their chief god, they depicted Hephaistos cleaving the 
head of Zeus with an axe, and Athena emerging, fully 
armed. When they conceived their heroes fighting evil 
powers, they showed them in combats with lions, boars, 
bulls, and monsters. To try to explain Greek representa- 
tions on metaphysical grounds, and to read our own more 
complicated thoughts and emotions into them, is to mis- 
understand the directness and spontaneity of Greek 
imagination. And this directness saved the Greeks also 
from sentimentality. The conciseness of their epitaphs 
and the quiet scenes on their tombstones can teach us how 
deep feeling can be adequately conveyed by a restrained 
expression. ‘We are lovers of beauty without extrava- 


XXII IN TRODBUGTrLOm 


gance,’ is what Perikles said of the Athenians in his fa- 
mous Funeral Speech.! It is this ardent and yet sober 
love of the things of the spirit which is so exhilarating to 
us today. 


!'Thukydides, 11, 40. 


Pi 
HOw 


ISERIES STENT 


BIBLIOGRAPHY 


THIS BIBLIOGRAPHY IS NOT INTENDED TO BE 
IN ANY SENSE EXHAUSTIVE,IT INCLUDES ONLY 
THE MORE IMPORTANT BOOKS OF INTEREST 
TO THE GENERAL READER. ADDITIONAL IN- 
FORMATION ON OBJECTS IN OUR COLLECTION 
WILL BE FOUND IN THE MUSEUM BULLETINS 


PERIODICALS 


American Journal of Archaeology. From 1885. 

Annual of the British School at Athens. London, from 
1894. 

Annual of the British School at Rome. London, from 1902. 

Antike, Die. Berlin and Leipzig, from 1925. 

Antike Denkmaler. Berlin, from 1801. 

Athenische Mitteilungen des deutschen archdologischen 
Instituts. Athens, from 1876. 

Ausonia. Rome, from 1906. 

Bulletin de correspondance hellénique. Paris, from 1877; 
Athens, from 1885. 

Dedalo. Milan, from 1920. 

Fondation Piot. Monuments et mémoires publiés par 
l’académie des inscriptions. Paris, from 1894. 

Jahrbuch des deutschen archaologischen Instituts. Berlin, 
from 1886; with Beiblatt, Archaologischer Anzeiger, 
from 1889. 


XX1V BIBLIOGRAPHY 


Jahreshefte des k. k. oesterreichischen archaologischen 
Instituts in Wien, with Beiblatt. Vienna, from 1808. 

Journal of Hellenic Studies. London, from 1881. 

Journal of Roman Studies. London, from 1911. 

Monumenti antichi pubblicati per cura della reale Ac- 
cademia dei Lincei. Rome, from 1890. 

Monumenti inediti dell’ Instituto di Correspondenza ar- 
cheologica. Paris, 1829-1885. 

Notizie degli scavi di antichita. Accademia dei Linceli. 
Rome, from 1876. 

Revue archéologique. Paris, from 1844. 

Romische Mitteilungen des deutschen azchaologischen 
Instituts. Rome, from 1886. 


LEXICONS 


Daremberg, C., Saglio, E., & Pottier, E. Dictionnaire des 
antiquités grecques et romaines. Paris, 1877-1918. 

Roscher, W. H. Lexikon der griechischen und rémischen 
Mythologie. Leipzig, from 1884. (In progress.) 

Smith, W. Dictionary of Greek and Roman Geography, 
I-II. London, 1880. 

Dictionary of Greek and Roman Biography and 

Mythology, I-III. London, 188o. 

Dictionary of Greek and Roman Antiquities. Third 
edition. London, 1890. 

Walters, H. B. Classical Dictionary of Greek and Roman 
Antiquities, Biography, Geography and Mythology. 
Cambridge, 19106. 

Wissowa, G., & Kroll, W. Pauly’s Real-Encyclopadie der 
klassischen Altertumswissenschaft. Stuttgart, from 
1894. (In progress.) 


BEB LIOGRAPHY XXV 


GENERAL WORKS 


Baumeister, A. Denkmaler des klassischen Altertums, 
I-III. Munich, 1884-1888. 

Baur 2 Yo... Centaurs in Ancient Art. . Berlin, 1912. 

Blimner, H. Technologie und Terminologie der Gewerbe 
und Kiinste bei Griechen und Roémern, I-IV. Leipzig, 
1875-1887 (I, second edition, 1912). 

Cambridge Ancient History, The, I-IV. Cambridge, 
1923-1920. 

Ducati, P. L’Arte classica. Turin, 1920. 

Fowler, H. N., & Wheeler, J. R.. A Handbook of Greek 

7 Archaeology. New York, 1900. 

Gardner, P. The Principles of Greek Art. New York, 
IQI4. 

Harrison, J. E., & Verrall, M. deG. Mythology and 
Monuments of Ancient Athens. London and New 
York, 1890. 

Jex-Blake, K., & Sellers, E. The Elder Pliny’s Chapters on 
the History of Art. London, 1896 

Livingstone, R. W. The Greek Genius and Its Meaning 
to Us. Oxford, 1912. 

Loewy, E. The Rendering of Nature in Early Greek Art, 
translated by J. Fothergill. London, 1907. 

Martha, J. L’Art étrusque. Paris, 1880. 

McClees, H. The Daily Life of the Greeks and Romans. 
New York, 1924. 

Michaelis, A. A Century of Archaeological Discoveries, 
translated by B. Kahnweiler. London, 1908. (Sec- 
ond German edition, Leipzig, 1908.) 

Minns, E. H. Scythians and Greeks. London, 1914. 

Overbeck, J. A. Die antiken Schriftquellen zur Geschichte 

der bildenden Kinste bei den Griechen. Leipzig, 1868. 

Griechische Kunstmythologie. Leipzig, 1871-1880. 


XXVI BIBLIOGRAPHY 


Perrot, G., & Chipiez, C. Histoire de l’art dans I’anti- 
quité, I-X. Paris, 1882-1914. 

Springer-Wolters. Handbuch der Kunstgeschichte. 
Twelfth edition. Stuttgart, 1921-1924. 

Tarbell, F. B. A History of Greek Art. Sixth Edition. 
New York, 1907. 

Van Hook, La R. Greek Life and Thought. New York, 
1923. 

Walters, H. B. The Art of the Ancient Greeks. London, 
1900. 

——The Art of the Romans. London, 1911. 

Zimmern, A. E. The Greek Commonwealth. Oxford, 


IQII. 


The official publications of excavations, especially those 
of Aegina, Delphi, Ephesos, Epidauros, Olympia, Perga- 
mon, Priene. 


PREHELLENIC. GRE iter 


Baikie, J. The Sea-Kings of Crete. London, 1910. 

Blegen, C. W. Korakou, A Prehistoric Settlement near 
Corinth. Boston and New York, 1921. 

Bossert, H. T.. Altkreta. Berlin, 1920) 

Burrows, R. M. The Discoveries in Crete. London, 
1907. 

Cambridge Ancient History, Il. Cambridge, 1924. Chap- 
ter XVI, Crete and Mycenae, by A. J. B. Wace. 

Dorpfeld, W. ‘Troja und Ilion. Athens, 1901. 

Dussaud, R. Les Civilisations préhelléniques dans le 
bassin de la mer Egée. Second edition. Paris, 1914. 

Evans, Sir A. J./ Scripta Minoa, I. Oxford, 1909. 

The Palace of Minos at Knossos, I. London, 1921. 

Excavations at Phylakopi in Melos, in Journal of Hellenic 
Studies, Supplementary Papers, No. 4. London, 1904. 


BIBLIOGRAPHY XXVIl 


Hall, E. H. Excavations in Eastern Crete, Sphoungaras, 
in University of Pennsylvania, The Museum, An- 
thropological Publications, III, 2, 1912, pp. 43ff. 

Hall, H. R. Aegean Archaeology. London, 1915. 

Hawes, C. H. & H. B. Crete, the Forerunner of Greece. 
London and New York, 1909. 

Hawes, H. B. Gournia, Vasiliki, and Other Prehistoric 
Sites on the Isthmus of Hierapetra, Crete. Philadel- 
phia, 1909. 

Maraghiannis, G. Antiquités crétoises, I-III. Candia, 
1907-IQI1. 

Reisinger, E. Kretische Vasenmalerei vom Kamares-bis 
zum Palast-Stil. Leipzig, 1912. 

Rodenwaldt, G. Tiryns: Die Ergebnisse der Ausgrabung- 
en, II. Athens, 1912. 

Schuchhardt, C. Schliemann’s Excavations, translated 
by E. Sellers. London and New York, 1891. 

Seager, R. B. The Cemetery of Pachyammos, Crete, in 

University of Pennsylvania, The Museum, Anthro- 

pological Publications, VII, 1, 1916, pp. 1ff. 

Excavations on the Island of Pseira, Crete, in Uni- 

versity of Pennsylvania, The Museum, Anthropologi- 

cal Publications, IIl, 1, 1910, pp. 1ff. 

—FExplorations in the Island of Mochlos. Boston and 
New York, 1912. 

Tsountas, C., & Manatt, J. I. The Mycenaean Age. 
Boston, 1897. 

Wace, A. J. B., & Thompson, M.S. Prehistoric Thessaly. 
Cambridge, 1912. 


For reports on the Italian excavations at Phaistos and 
Hagia Triada, see Monumenti antichi, VI ff. 


XXVIII BIBLIOGRAPHY 


ARCHITECTURE AND TOPOGRAPHY 


Anderson, W. J., & Spiers, R. P. The Architecture ot 
Greece and Rome. Second edition. London, 1907. 
(A new edition in two volumes is announced, the 
Greek portion rewritten by Dinsmoor, W. B.) 

Benoit, F. L’Architecture, 1. Antiquité. Paris, 1911. 

Butler, H.C. Sardis, I], part 1. The Temple of Artemis. 
The American Society for the Excavation of Sardis. 
Leyden, 1925. 

Collignon, L. M. Le Parthenon: I’histoire, l’architecture 
et la sculpture. Third edition. Leipzig, 1910. 

D’Ooge, M. L. The Acropolis of Athens. New York 
and London, 1908. 

Durm, J. Die Baukunst der Griechen. Second edition. 
Darmstadt, 1802. 

Frazer, J. G. Pausanias’ Description of Greece, I-IV. 
London, 1808. 

Gardiner, E.N. Olympia: Its History and Remains. Ox- 
ford, 1925. 

Goodyear, W.H. Greek Refinements. New Haven, 1912. 

Hambidge, J. The Parthenon. New Haven, 1924. 

Harrison, J. E., & Verrall, M. deG. Mythology and 
Monuments of Ancient Athens. London and New 
York, 1890. 

Judeich, W. Topographie von Athen (Miller, I. Hand- 
buch der klassischen Altertumswissenschaft). Mu- 
nich, 1905. 

Koldewey, R., & Puchstein, O. Die griechischen Tempel 
in Unteritalien und Sicilien, I-II. Berlin, 1899. 

Lechat, H. Le Temple grec. Paris; 1602) 

Marquand, A. Greek Architecture. New York and 
London, 1909. 


BIBLIOGRAPHY XX1X 


Mau, A. Pompeii: Its Life and Art, translated by F. W. 
Kelsey. New York, 1904. 

Noack, F. Die Baukunst des Altertums. Berlin, 1g1to. 

Penrose, F. C. Principles of Athenian Architecture, 
Second edition. London, 1888. 

Poulsen, F. Delphi, translated by G. C. Richards. Lon- 
aon, 1920. 

Rider, B. C. The Greek House. Cambridge, 1916. 

Solon, L. V. Polychromy. The Architectural Record. 
New York, 1924. 

Vitruvius. The Ten Books on Architecture, translated 
by M. H. Morgan. Cambridge, Mass., 1914. 

Warren, H. L. The Foundationsof Classical Architecture. 
New York, 1919. 


POwise PK 


Arndt, P. Griechische und romische Portrats. Munich, 
from 1909. (In progress.) 

Arndt, P., & Amelung, W. Photographische Einzelauf- 
nahmen antiker Skulpturen. Munich, from 1893. 
(In progress.) 

Bernoulli, J. J. Griechische Ikonographie, I-I]. Munich, 

1901. 

Romische Ikonographie, I-IV. Stuttgart, 1882- 

1894. 

Brunn, H., & Arndt, P. Denkmaler griechischer und 
romischer Sculptur. Munich, from 1888. (In prog- 
ress.) 

Bulle, H. Der schdne Mensch, I. Im Altertum. Third 
edition. Munich, 1922. 

Chase, G. H. Greek and Roman Sculpture in American 
Collections. New York, 1924. 

Collignon, L. M. Histoire de la sculpture grecque. Paris, 
1892-1807. 


XXX BEB b1O G RAP rex 


Conze,A.C.L. Die attischen Grabreliefs. Berlin, 1890-- 
IQI1. 

Delbriick, R. Antike Portrats. Bonn, 1912. 

Déonna, W. Les Apollons archaiques. Geneva, 1909. 

Dickins, G. Hellenistic Sculpture. Oxford, 1920. 

Fowler, H.N. A History of Sculpture. New York, 1916. 

Furtwangler, A. Masterpieces of Greek Sculpture. 
Edited by E. Sellers. London and New York, 1895. 

Gardner, E. A. Handbook of Greek Sculpture. Second 

edition. London and New York, 1915. 

Six Greek Sculptors. London, 1910. 

Gardner, P. Sculptured Tombs of Hellas. London, 
1800. 

Hekler, A. Die Bildniskunst der Griechen und Romer. 
Stuttgart, 1912. (English edition. London, 1912.) 

Jones, H. Stuart. Select Passages from Ancient Authors 
Illustrative of the History of Greek Sculpture. Lon- 
don, ‘1895. 

Kekulé von Stradonitz, R. Die griechische Skulptur. 
Berlin, 1906. 

Lange, J. H. Darstellung des Menschen in der 4lteren 
eriechischen Kunst, translated from the Danish by 
M. Mann. Strassburg, 1890. ; 

Lechat, H. Au Musée de 1l’Acropole d’Athénes: étude sur 
la sculpture en Attique. Lyon, 1903. 

Lermann, W. Altgriechische Plastik. Munich, 1907. 

Lippold, G. Griechische Portratstatuen. Munich, 1912. 

Loewy, E. La scultura greca. Torino, 1911. (German 
edition, Leipzig, 1911.) 

——Typenwanderung, in O6esterreichische Jahreshefte, 
XII, Vienna, 1900. 

Picard, C. La Sculpture antique des origines 4 Phidias. 
Paris, 1923. 

Poulsen, F. Greek and Roman Portraits in English 


PrLeLioOGRA PHY XXXI1 


Country Houses, translated by G. C. Richards. 
Oxford, 1923. 

Reinach, S. Receuil de tétes antiques. Paris, 1903. 

—Répertoire de la statuaire grecque et romaine, I-IV. 
Paris, 1897-1904. 

——Ré€pertoire de reliefs grecs et romains, I-III. Paris, 
1909-1912. 

Robert, K. Die antiken Sarkophagreliefs, II-III. Berlin, 
1890-1910. 

Schrader, H. Pheidias. Frankfurt a. M., 1924. 

Smith, A. H. The Sculptures of the Parthenon. London, 


1910. 
_ Strong, Mrs. Arthur. Roman Sculpture from Augustus to 
Constantine. London, 1911. (Italian edition, I-II, 


Florence, 1923, 1920.) 

Wace, A. J. B. The Evolution of Art in Roman Por- 
traiture, in the Journal of the British and American 
Archaeological Society of Rome, III, Session 1905-1906. 

Waldmann, E. Griechische Originale. Second edition. 
Leipzig, 1923. 

Wickhoff, F. Roman Art, translated by Mrs. Arthur 
Strong. London, 1900. 


TERRACOTTAS 


Déonna, W. Les Statues de terre cuite dans l’antiquite. 
Paris, 1908. 

Hutton C. A. Greek Terracotta Statuettes. London 
and New York, 1890. 

Pottier, E. Diphilos et les modeleurs de terres cuites 
erecques. Paris, 1900. 

-_—lLes Statuettes de terre cuite dans l’antiquité. Paris, 
1890. 

Pottier, E., & Reinach, S. La Nécropole de Myrina, I-II. 
Paris, 1887. 


XXXII BIBLIOGRAPHY 


——Terres cuites de Myrina. Paris, 1886. 
Winter, F. Die Typen der figiirlichen Terrakotten, I-II. 
Berlin and Stuttgart, 1903. 


VASES 


Beazley, J. D. Attic Red-figured Vases in American 
Museums. Cambridge, 1918. 

——Attische Vasenmaler des rotfigurischen Stils. ‘Ttubin- 
gen, 1925. 

Brauchitsch; J. von. Die Panathendischen Preisampho- 
ren. Leipzig and Berlin, 1910. 

Buschor, E. Greek Vase Painting, translated by G. C. 
Richards. London, 1921. (German edition, Munich, 


1913.) : 
Caskey, L. D. Geometry of Greek Vases. Boston, 1922. 
Corpus Vasorum Antiquorum. Paris, 1922—. (In 


progress.) 

Dragendorff, H. Terra Sigillata, in Jahrbiicher des 
Vereins von Alterthumsfreunden im _ Rheinlande 
(‘Bonner Jahrbiicher’’), 96, 1895, pp. 18-155. 

Fairbanks, A. Athenian White Lekythoi with Outline 
Drawing in Matt Color on a White Ground. New 
York, 1914. 

Furtwanegler, A., & Reichhold, K. Die griechischen Vasen- 
malerei, I-IJ, III (in progress). Munich, 1900— 
Hambidge, J. Dynamic Symmetry: The Greek Vase. 

New Haven, 1920. 

Hartwig, P. Die griechischen Meisterschalen des 
strengen rothfigurischen Stils. Stuttgart, 1893. 
Hoppin, J. C. Handbook of Attic Red-figured Vases, 

I-Il. Cambridge, Mass., 1919. 

——Handbook of Greek Black-figured Vases, Paris, 

1924. : 


Prelioc RAPHY XXX] 


——Euthymides and His Fellows. Cambridge, Mass., 
1QI7. 

Klein, W. Die griechischen Vasen mit Meistersignaturen. 
Second edition. Vienna, 1887. 

——Die griechischen Vasen mit Lieblingsinschriften. 
Second edition. Vienna, 1808. 

Kretschmer, P. Die griechischen Vaseninschriften ihrer 
Sprache nach untersucht. Giutersloh, 1894. 

Langlotz, E. Zur Zeitbestimmung der strengrotfiguri- 
schen Vasenmalerei und der gleichzeitigen Plastik. 
Leipzig, 1920. 

Mayer, M. Apulien vor und wahrend der Hellenisirung. 
Leipzig and Berlin, 1914. 

Metropolitan Museum of Art. Shapes of Greek Vases. 
New York, 1922. 

Pfuhl, E. Malerei und Zeichnung der Griechen, I-III. 
Munich, 1923. 

Masterpieces of Greek Drawing and Painting, trans- 

lated by J. D. Beazley. New York, 1920. 

Pottier, E. Douris and the Painters of Greek Vases, 
translated by B. Kahnweiler. New York, 19106. 
Reinach, S. Répertoire des vases peints, I-II. Paris, 

1899-1900. | 
Riezler, W. Weissgrundige attische Lekythen, nach 
Furtwanglers Auswahl, I-II. Munich, 1914. 
Walterss=ti bb. History of Ancient Pottery, - I-11. 
London, 1905. 


GEMS 
Furtwangler A. Die antiken Gemmen, I-III. Leipzig, 
1900. 
Osborne, D. Engraved Gems, Signets, Talismans, and 
Ornamental Intaglios, Ancient and Modern, New 
York, 1912. 


XXXIV BIBLIOGRAPHY 


COINS 


Gardner, P. Types of Greek Coins. Cambridge, 1883. 
Head, B. V. Historia Numorum. Oxford, 1911. 
Hill, G. F. A Handbook of Greek and Roman Coins. 


London, 1899. 
Regling, K. Die antike Miinze als Kunstwerk. Berlin, 
1924. 


PAINTING 


Berger, E. Die Maltechnik des Altertums. Munich, 1904. 
Breitschedel, O. Zur Technik der roémisch-pompeyjani- 
schen Wandmalereil. Munich, 1911. 
Eibner, A. Entwicklung und Werkstoffe der Wandmalerei 
vom Altertum bis zur Neuzeit.. Munich, 1920. 
Gerlich, F. Die Technik der roémisch-pompejanischen 
Wandmalerei, in Neue Jahrbiicher fiir das klassische 
Altertum, X XI,.1908, pp. 127-147. 

Herrman, P. Denkmaler der Malerei. Munich. (in 
progress.) 

Laurie, H. P. Greek and Roman Methods of Painting. 
Cambridge, 1910. 

Mau, A. Geschichte der decorativen Wandmalerei in 
Pompeji. Berlin, 1882. 

Poulsen, F. Etruscan Tomb Paintings, translated by I. 
Anderson. Oxford, 1922. 

Reinach, S. Répertoire des peintures grecques et romaines. 
Paris, 1922. 

Rodenwaldt, G. Die Komposition der pompejanischen 
Wandgemialde. Berlin, 1900. 

Swindler, M. H. Ancient Painting. New Haven. (In 
press.) 


Daeo LOG RA PH Y XXXV 


GLASS 


Dillon, E. Glass. New York, 1907. 

Kisa, A. C. Das Glas im Altertume. Leipzig, 1908. 

Richter, G. M. A. The Room of Ancient Glass, Met- 
ropolitan Museum of Art. (A brief account of the 
chief varieties.) New York, 1916. 


FURNITURE 
Koeppen, A., & Breuer, C. Geschichte des Mobels. Berlin 
and New York, 1904. 
Richter, G. M. A. Ancient Furniture. With an appen-~ 
dix by A. W. Barker, Oxford, 1926. 
Williams (Ransom), C. L. Couches and Beds of the 
Greeks, Etruscans, and Romans. Chicago, 1905. 


ATHLETICS 
Alexander, C. Greek Athletics. New York, 1926. 
Gardiner, E. N. Greek Athletic Sports and Festivals. 
London, 1910. 
Jiithner, J. Antike Turngerathe. Vienna, 1806. 
Krause, J. H. Die Gymnastik und Agonistik der Hel- 
lenen. Leipzig, 1841. 


MiaPALR Es 


Bieber, M. Denkmaler zum Theaterwesen in Altertum. 
Berlin and Leipzig, 1920. 

Flickinger, R. C. The Greek Theater and its Drama. 
Chicago, 1918. 


DRESS 


Abrahams, E. B. Greek Dress. London, 1908. 
Heuzey, L.A. Histoire du costume antique. Paris, 1922. 


XXXVI BIB LPOG RoAYPRSy 


~ RELIGION AND MYTHOLOGY 


Cook, A. B. Zeus: A Study in Ancient Religion, I-II. 
Cambridge, 1914-1925. 

Fairbanks, A. A Handbook of Ancient Religion. New 
York, 1910. 

Fairbanks, A. The Mythology of Greece and Rome. 
New York, 1908. 

Gardner, E.A. Religion and Art in Ancient Greece. 
London and New York, 1910. 

Harrison, J. E. Themis: A Study of the Social Origins of 
Greek Religion. Cambridge, 1912. 

Nilsson, M. P. History of Greek Religion, translated by 
F. J. Fielding, Oxford, 1925. 


CATALOGUES 


A. MUSEUMS 
AUSTRIA 
Vienna 
Masner, K. Die Sammlung antiker Vasen und 
Terracotten. Vienna, 1892. 


DENMARK 
Copenhagen 
Arndt, P. La Glyptothéque Ny-Carlsberg, les 
monuments antiques. Munich, 1912. 


EGYPT 
Cairo 
Edgar, C.C. Catalogues of the Greek Bronzes, 
Greek Vases, Greek Moulds, and Graeco- 
Egyptian Glass in the Cairo Museum. 
Cairo, 1903-1911. 


Bap LIOGRAPHY XXXVII 


ENGLAND 
London 

Smith, A. H. A Catalogue of Sculpture in the 

British Museum, I-III. London, 1892- 
1904. 
Walters, H. B. Catalogue of the Bronzes in 
the British Museum. London, 1899. 
—-Select Bronzes, Greek, Roman and Etruscan, 
in the British Museum. London, 1915. 

— Catalogue of the Terracottas in the Depart- 
ment of Greek and Roman Antiquities, in 
the British Museum. London, 1903. 
Catalogue of the Greek and Roman Lamps 
in the British Museum. London, 1909. 
Forsdyke, E. J. Catalogue of Prehistoric Aegean 

Pottery, [, 1. -London, 1925. 

Walters, H. B., & Smith, C. H. Catalogue of 
the Greek and Etruscan Vases, I, 2, II-IV. 
London, 1893-1912. 

Walters, H. B. Catalogue of Engraved Gems and 
Cameos in the British Museum. London, 
1920. 

Marshall, F. H. Catalogue of the Finger Rings, 

Greek, Etruscan and Roman, in the British 

Museum. London, 1907. 

Catalogue of the Jewellery, Greek, Etrus- 

can and Roman, in the British Museum. 

London, 1911. 


Oxford 
Gardner, P. Catalogue of the Greek Vases in 
the Ashmolean Museum. Oxford, 1893. 
FRANCE 
Paris 
Froehner, C. E. L. W. Notice de la sculpture 
antique du Louvre. Paris, 1860. 


’ XxXVIll BIBLIOGRAPHY 


FRANCE (continued) 
Paris (continued) 

Ridder, A. de. Les Bronzes antiques du Louvre, 
I-II. Paris, 1913-1915. | 

Heuzey, L. Les Figurines antiques de terre 
cuite du musée du Louvre. Paris, 1883. 

Pottier, E. Catalogue des vases antiques de 
terre cuite du Louvre, I-III. Paris 1896- 
1900. 

Babelon, E. Le Cabinet des antiques a la Bib- 
liothéque nationale. Paris, 1887. 

Babelon, E., & Blanchet, A. Catalogue des 
bronzes antiques de la Bibliothéque natio- 
nale. Paris, 1895. 

Ridder, A. de. Catalogue des vases peints de la 
Bibliothéque nationale, I-II. Paris, 1901- 
1902. 


GERMANY 
Berlin 
Conze, A. C. L. Konigliche Museen zu Berlin, 
Beschreibung der antiken Skulpturen. Ber- 
lin, 1891. 
Friedrichs, C., & Wolters, P. Die Gipsabgiisse 
antiker Bildwerke. Berlin, 1885. 
Furtwangler, A. Beschreibung der Vasensamm- 
lung im Antiquarium, I-II. Berlin, 1885. 
K6nigliche Museen zu Berlin, Beschreibung 
der geschnittenen Steine im Antiquarium. 
Berlin, 1806. 


Cassel 
Bieber, M. Die antiken Skulpturen und Bronzen 
der koniglichen Museum fridericianium in 
Cassel. Marburg, 1915. 


BIBLIOGRAPHY XXXIX 


GERMANY (continued) 
Karlsruhe 

Schumacher, K. Grossherzogliche vereinigte 
Sammlungen zu Karlsruhe, Beschreibung 
der Sammlung antiker Bronzen. Karlsruhe 
1800. 

Winnefeld, H. Grossherzogliche vereinigte 
Sammlungen zu Karlsruhe, Beschreibung der 
Vasensammlung. Karlsruhe, 1887. 

Mainz 
Behm, F. Romische Keramik mit Einschluss 
| der hellenistischen Vorstufen. Mainz, 1910. 
Munich 

Furtwangler, A. Beschreibung der Glyptothek. 
Second edition. Munich, 1910. 

Sieveking, J., & Hackl, R. Die konigliche Vasen- 
sammlung zu Minchen, |. Munich, 1912. 


GREECE 
Athens 

Stais, V. Guide illustré du Musée National 
d’Athénes: la collection mycénienne. Athens, 
1909. 

— Guide illustré du Musée National d’Athénes: 
Marbres et bronzes. Second edition. 
Athens, 1909-1910. 

Collignon, M. L., & Couve, L. Catalogue des 
vases peints du Musée National d’Athénes. 
Paris, 1902; Supplement by G. Nicole. 
Haris, 1911. 

Dickins, G. Catalogue of the Acropolis Museum, 
I: Archaic Sculpture. Cambridge, 1912. 

Casson, S. Catalogue of the Acropolis Museum, 
I]: Sculpture and Architectural Fragments, — 


xl BRE LIOGrArA 


GREECE (continued) 
Athens (continued) 
with a section upon the Terracottas by D. 
Brooke. Cambridge, 1921. 

Schrader, H. Auswahl archaischer Marmor- 
skulpturen im Akropolismuseum. Vienna, 
1913. 

Graef, B. Die antiken Vasen von der Akropolis 
zu Athen. Berlin, 1911. 

Ridder, A. de. Catalogue des bronzes de la 
Société Archéologique d’Athénes. Paris, 
1894. 

——Catalogue des bronzes trouvés sur l’Acropole 
d’Athénes. Paris, 1926. 

Svoronos, J. N. Das athener Nationalmuseum, 
Germanedition by W. Barth, I-III. Athens, 
1908-1913. 

ITALY 
Bologna 

Pellegrini, G. Catalogo dei vasi greci dipinti delle 

necropoli felsinee. Bologna, 1912. 
Florence 

Amelung, W. Fuhrer durch die Antiken in 
Florenz. Munich, 1897. 

Milani, L. A. Il Reale Museo archeologico di 
Firenze. Florence,191 

Naples 

Guida illustrata del Museo Nazionale di Napoli, 
I. Naples, 1911. 

Heydemann, H. Die Vasensammlungen des 
Museo Nazionale zu Neapel. Berlin, 1872. 

Northern Italy 

Ditschke, H. Antike Bildwerke in Oberitalien, 

I-V. Leipzig, 1874-1882. 


BIBLIOGRAPHY xll 


ITALY (continued) 
Rome 

Amelung, W., & Holzinger, H. The Museums 
and Ruins of Rome, I-II. English edition. 
New York, 1900. 

Amelung, W. Die Sculpturen des Vaticanischen 
Museums, I-III. Berlin, 1903. 

Helbig, K. F. W. Fuhrer durch die 6ffentlichen 
Sammlungen klassischer Altertiimer in Rom. 
Third edition. Leipzig, 1912-1913. 

Jones, H. S. (editor). A Catalogue of the Sculp- 
tures of the Museo Capitolino. Oxford, 1912. 


RUSSIA 
Petrograd 
Kieseritzky, G. von. Sculptures in the Hermit- 
age (in Russian). St. Petersburg, 1901. 
Stephani, L. von. Die Vasen-Sammlung der kai- 
serlichen Ermitage. St. Petersburg, 1869. 


SPAIN 
Madrid 
Alvarez-Ossorio, F. Vasas griegos, etruscos é 
italo-griegos que se conservan en el Museo 
arquelogico nacional. Madrid, 1og1o. 
Leroux, G. Vases grecs et italo-grecs du Musée 
archéologique de Madrid. Bordeaux, 1912. 


TURKEY 
Constantinople 

Mendel, G. Catalogue des figurines grecques de 
terre cuite aux Musées Impériaux-Ottomans. 
Constantinople, 1908. 
Catalogue des sculptures: grecques, romaines 
et byzantines aux Musées Impériaux-Otto- 
mans, I. Constantinople, 1912. 


xii BIBLIOGRAPHY 


UNITED STATES 
Boston 
Caskey, L. D. Catalogue of Greek and Roman 
Sculpture in the Museum of Fine Arts. 
Cambridge, Mass., 1925. 
Chase, G. H. Catalogue of Arretine Pottery in 
the Museum of Fine Arts. Boston and 
New York, 19106. 
Robinson, E. Catalogue of Greek, Etruscan 
and Roman Vases in the Museum of Fine 
Arts. Boston, 1893. 
New York 
Myres, J. L. Handbook of the Cesnola Collec- 
tion of Antiquities from Cyprus. New 
York, 1914. 
Richter, G. M.A. Greek, Etruscan, and Roman 
Bronzes in the Metropolitan Museum of Art. 
New York, 1914. 
Catalogue of Engraved Gems in the Metro- 
politan Museum of Art. New York, 1915. 
Ward, J. Greek Coins and Their Parent Cities; 
with a Catalogue of the Author’s Collection 
by G. F. Hill. London, 1902. | 


B. PRIVATE COLLEGTig 


CHARVET COLLECTION 
Froehner, C. E. L.W. La Verrerie antique: description 
de la Collection Charvet. Le Pecq, 1879. 


COLLECTION DE CLERCQ 
Ridder, A. de. Catalogue de la Collection de Clerg, 
ITI-IV, VI-VII. Paris, 1904-1911. 


BO BLIOGRAPHY xiii 


GREAT BRITAIN 
Michaelis, A. Ancient Marbles in Great Britain, 
translated by C. A. M. Fennell. Cambridge, 
1882. | 
Tillyard, E. M. W. The Hope Vases. Cambridge, 


1923. 
GREAU COLLECTION 


Froehner, C. E. L. W. Collection Julien Gréau, ap- 
partenant a J. P. Morgan. Paris, 1903. 


LoEB COLLECTION 
Sieveking, J. Die Bronzen der Sammlung Loeb. 
Munich, 1913. 
Die Terrakotten der Sammlung Loeb, I-II. 
Munich, 1916. 
Chase, G. H. The Loeb Collection of Arretine Pot- 
tery. New York, 1908. 


MorGAN COLLECTION 
Smith, Sir C. H. Collection of J. P. Morgan. Bronzes: 
Antique Greek, Roman, etc. Paris, 1913. 


Wicd 


Sa ieeallinl 


ale 


— 


SAS “ 
ioe See @ 
2.2% O49 


FIRST ROOM WITH ANNEX 
PREHISTORIC GREEK PERIOD! 


ABOUT 3500—I 100 B. C. 


IER excavations of the last half-century have revealed 
a civilization of great antiquity in Greek lands, an account 
of which will henceforth always have to form the opening 
chapter of any history of Greek art. Before these dis- 
coveries, the study of Greece was confined to the classical 
periods during the first millennium B.c.; and this history 
seemed complete in itself, for it recorded the primitive 
beginnings, the gradual rise and flowering, and the sub- 
sequent fall and disintegration of a homogeneous culture. 
But now we know that before the Hellenic people de- 
veloped the civilization we know as Greek, another people 
had dominated the Aegean world for more than two thou- 
sand years, and had evolved an independent culture and 
art of high standing. 

Our knowledge of this earlier Greek civilization we owe 
almost entirely to the work of the archaeologist. ‘There 
is no literature to help us, for the only written records are 
as yet undeciphered. And the classical Greeks knew 


1My best thanks are due to A. J. B. Wace, who has read this section 
of the book in Ms., and who has helped me bring it up to date. 


4 FIRST ROOM 


little of their predecessors; only a legend here and there 
harks back to this distant past. For this reason the 
gradual unfolding of that long-forgotten civilization is one 
of the most sensational as well as one of the most important 
feats of archaeology. 

The story of this feat reads like a romance. It has 
often been told, so we need only repeat here the salient 
points. The first actor in the drama was Heinrich Schlie- 
mann (born in 1822 in Mecklenburg-Schwerin), who con- 
ceived the idea of digging for the city of Troy. He had 
heard of Homer’s heroes, and had become convinced that 
Troy had really existed, and that its ruins must still be 
standing. He spent a youth of poverty and hardship, but 
afterwards amassed a fortune, and when of middle age was 
free to realize the dream of his life. After a few years of 
preparation, in spite of the skepticism of contemporary 
archaeologists, he started excavations in 1871. His faith 
and his enterprise were rewarded. He found not only 
Troy but, later, Mycenae and Tiryns. His discoveries, 
especially the famous shaft-graves at Mycenae, with their 
treasures of gold, astonished the world. The “heroic age”’ 
of Greece, heretofore regarded as a mere myth, became a 
reality. Soon other discoveries belonging to the same 
epoch were made at Vaphio and elsewhere by Professor 
Tsountas; and the chief concern of archaeologists then 
became to find the original home of this civilization. Un- 
mistakable clues pointed to the island of Crete. Since 
legends had proved to be such useful pathfinders, the 
stories of the sea-king Minos, with his Minotaur and 
Labyrinth, and of the birth of Zeus in the cave of Dikte, 
assumed a new aspect. Isolated discoveries on the island 
pointed in the same direction. For some time, however, 
no excavations could be undertaken, for Crete was under 
Turkish rule and in a constant state of revolution. As 


Piao ORC GREEK PERIOD 5 


soon as conditions were more favorable, Dr. A. J. Evans 
(now Sir Arthur Evans), of Oxford, and Dr. Federigo 
Halbherr, of Rome, started on their quest. In 1900 Sir 
Arthur Evans began excavations on the site of Knossos, 
which he had secured some years before. His results 
were even more fruitful than the most sanguine expected. 
Within a few years he unearthed a large palace with spa- 
cious courtyards and numerous living-rooms, bathrooms, 
magazines, and staircases, of a plan so complicated that 
it might well be called a Labyrinth! In its finished 
appointments and its advanced methods of sanitation 
it furnished many surprises to those who had pictured 
_ to themselves the prehistoric Greeks leading a primitive 
existence. But more important yet was the harvest of 
art objects—the paintings from the walls of the palace, 
the colored reliefs and statuettes, the pottery and seal- 
stones, which all bore testimony to the originality and 
artistic sense of these early Cretans. 

In the meantime the Italian expedition under Halbherr 
had discovered two palaces at Phaistos and Hagia Triada 
in southern Crete. The finds, especially at Hagia Triada, 
were of great interest, confirming and enlarging the 
knowledge obtained at Knossos. Since then, other work- 
ers have continually added to our store of knowledge, 
notably Miss Harriet Boyd (now Mrs. C. H. Hawes) in 
her excavations of the town of Gournia, D. Hogarth and 
R. C. Bosanquet in the excavations of the British School 
at Zakro and Palaikastro, and R. B. Seager in his dis- 
coveries at Mochlos, Pseira, and other sites. More re- 
cently excavations in Greece proper, especially those by 


1The word Labyrinth may not improbably be derived from labrys, 
double axe, which is a symbol frequently found at Knossos. In that 
case the first meaning of Labyrinth was House of the Double Axes, and 
later, on account of the intricate plan of the palace, it became synony- 
mous with a maze. 


6 FIRST ROOM 


the American School under Carl W. Blegen at Korakou, 
Zygouries, and the Argive Heraion and by the British 
School under A. J. B. Wace at Mycenae, have made clearer 
the connections between Greece and the mainland. And 
since the soil of Crete, of the Greek mainland, and of the 
Aegean Islands has by no means been exhausted, we may 
expect a great extension of our knowledge in years to come; 
especially should a bilingual inscription be found, which 
would enable us to read the Cretan script. But we have 
enough at hand now to reconstruct on broad lines this 
civilization in its various stages. 

The Cretan civilization is essentially a product of the 
Bronze Age, that is, of the epoch when implements were no 
longer of stone, and not yet of iron, but were all of bronze. 
Its beginnings can indeed be traced to the Neolithic or 
Late Stone Age (see, e.g., the fine stone celts in Case U), 
but when it emerged into the daylight of a less primitive 
existence, the Bronze Age had been reached; and it was dur- 
ing the two thousand years covered by that era that this 
civilization had its rise, its culmination, and its fall; by the 
time the Iron Age was introduced, at the end of the second 
millennium B.c., Cretan civilization had played its part 
and disappeared. 

The objects in our collection illustrating this early epoch 
have been assembled in the First Room and in the adjoin- 
ing Annex (the vestibule leading into the Sculptural Hall). 
In examining these objects we must carefully distinguish 
between originals and reproductions, because here, for 
reasons stated above (see p. xvill), an exception has been 
made to our regular practice, and originals and reproduc- 
tions are exhibited together. The reproductions, which 
form by far the greater part of the collection, are the work 
of E. Gilliéron, of Athens, and of H. Bagge. The originals, 
consisting chiefly of vases, vase-fragments, and objects in 


Peers ORC’ GREEK PERIOD fi 


stone and bronze, have been acquired from various sources 
by gift or exchange. Recently an important bequest 
by Richard B. Seager of engraved sealstones and hand- 
carved stone vases has given distinction to our collection. 

It is important to realize that, like every other nation 
which has gained eminence, the Cretans passed through 
several stages of growth before reaching the culmination 
of their civilization. The chief characteristics of these 
periods have now been fairly well established by the careful 
work of the exca- wee valores. oir, Arthur 
Evans’s_ classifica- |@ — | tion into three main 


FIG. I. STONE VASES FROM MOCHLOS 


epochs, Early, Middle, and Late Minoan,! each with three 
subdivisions, is a convenient skeleton on which to recon- 
struct the history as we knowit. The following dating is 


1The word Minoan, derived from the name Minos, is, strictly speaking, 
only appropriate for the Late Minoan period, during which King Minos 
lived. But since his brilliant reign typifies for us what we understand 
by “Cretan,” it would be difficult, in spite of this obvious anachronism, 
to find a more suggestive term. Recently, as excavations of prehistoric 
sites outside Crete have multiplied, the term Minoan is being restricted 
to objects found in Crete and the terms Helladic and Cycladic are being 
applied to the finds of the Greek mainland and the islands respectively. 
During the earlier periods the Helladic and Cycladic civilizations were of 
a much more primitive nature than the Cretan, until by the end of 
the Middle Minoan and the beginning of the Late Minoan period the 
Cretan culture spread over the whole Aegean world. Since most of 
the objects in our collection are Cretan we have adhered to the Minoan 
phraseology. 


8 ELRSTO ROOM 


based on the minimum system of Egyptian chronology, 
now endorsed by most Cretan excavators: 


Early Minoan | About 3500-3100 B.C. 
Early Minoan I] About 3100-2600 B.C. 
Early Minoan II] About 2600-2200 B.C. 
Middle Minoan | About 2200-2000 B.C. 
Middle Minoan I] About 2000-1800 B.C. 
Middle Minoan III? About 1800-1600 B.C. 
Late Minoan | About 1600-1500 B.C. 
Late Minoan II? About 1500-1400 B.C. 
Late Minoan III About 1400-1100 B.C. 


EARLY MINOAN PERIOD 
ABOUT 3500-2200 B.C, 


The most important remains of the Early Minoan period 
(roughly synchronous with the Old Kingdom of Egypt) 
have been found in the eastern part of Crete, especially at 
Gournia, Vasiliki, Palaikastro, Pseira, and Mochlos. Con- 
ditions were by no means as primitive then as was once 
thought. The people were rich and prosperous, lived in 
comfortable houses, and apparently had communications 
with the outside world, especially with Egypt. In their 
crafts, some of which are of surprising technical or artistic 
excellence, we already notice certain marked characteris- 
tics, which were to distinguish Cretan work throughout its 
history. Such are, on the one hand, a tendency to experi- 
ment, observable especially in their pottery, and, on the 
other, a readiness to utilize foreign products and transform 

1On some sites, the distinction between the later part of Middle Minoan 
Il and the early part of Late Minoan | is almost impossible to draw. 


*Late Minoan II is the special product of Knossos and elsewhere its 
place is taken by varieties of Late Minoan I. 


Peete oriC GREEK PRERIOD 9 


them into their own independent creations. The latter 
quality can be seen in the beautiful stone vases found by 
Mr. Seager at Pseira and Mochlos, of which reproductions 
are exhibited in Case Y (fig.1) and several originals in 
Case P. These show marked Egyptian influence, in 
technique and occasionally in form, and yet are essentially 
different from their models.. Not only are a majority of 
the shapes Cretan, but the choice of color in the stones 
used shows a much greater variety than in similar stone 
vases from Egypt. (Compare the examples in the First 


FIG. 2.5 BARLY MINOAN POTTERY 


Egyptian Room, Cases I and L.) An interesting piece ts 
the steatite lid with the handle in the form of a dog (Case 
B). | 

Another class of artistic products found at Mochlos was 
gold jewelry. A selection of reproductions is shown in 
Case G and a few original pieces in Case U. They consist 
of hairpins in the shape of daisies and crocuses and sprays 
of leaves, of plain bands, delicate chains and pendants, 
not as a rule of very fine workmanship, but displaying a 
charming naturalism distinctive of Cretan work. A 
number of original pieces of pottery (fig. 2)—-vases and 
vase-fragments—belonging to this epoch are shown in 
Case S and the drawers of Case F. Four definite styles 
can be distinguished: (1) pottery of reddish clay, covered 
with a more or less lustrous black slip in imitation of the 
black, hand-polished neolithic ware; (2) dark-on-light geo- 


Stone 
Vases 


Cases.) <P 


Case B 


Jewelry 
Cases G, U 


Pottery 
Case S 


IO ErR St) ROOM 


metric ware (linear designs painted in brown or black 
on buff clay); (3) mottled red and black, or plain red ware, 
with polished surface; (4) white-on-black geometric ware 
(linear designs painted in white on dark paint). Com- 
pared with the stone vases and the jewelry, these vases 
appear primitive; but the great variety of form and 
decoration contains much promise of future develop- 
ment. 

Sculpture = The sculptural productions of the period consist of 

Goes primitive marble idols, similar to those found in the 
Cycladic Islands—of which several examples are shown 
in Case S as an anonymous loan. Between these and the 
wonderful portrait sculptures produced in contemporary 
Egypt there is no connection. 

Seal- Of the many discoveries of Sir Meine Evans in Crete 

eae there is perhaps none that appealed so much to the popular 
imagination as the finding of a written language. The 
problem which had puzzled every one since Schliemann’s 
discoveries—how the highly cultured Mycenaeans could 
have dispensed with writing when the peoples of Egypt 
and Asia Minor had long ago evolved a script—was solved 
at last. That Schliemann had found no trace of ‘this 
language at Mycenae was a mere chance, due to the 
fact that it had been written on perishable material!; 
and that Sir Arthur Evans found such abundant remains 
of it in Crete was again largely fortuitous, due to the 
circumstance that the early Cretans wrote on sealstones, 
terracotta tablets, and other such durable objects. The 
most complete record of this written language is on the 
sealstones. Here we can trace its development from Early 


1Since his day Tsountas and others have found at Mycenae and at sites 
in Attica vases of clay and stone inscribed with Minoan signs, and more 
recently the Germans at Tiryns and Keramopoullos at Thebes have found 
painted clay vases bearing writing in a version of Minoan script. 


Perino eR G GREEK PERIOD I] 


Minoan to Late Minoan times. One of the best collections 
of such sealstones (placed in Case N) has been bequeathed 
to us by Richard B. Seager. We could not have a better 
opportunity for studying the gradual unfolding of a primi- 
tive language. 

The stones of the Early Minoan period, of which there 
are seventy-one in the collection, show a great variety of 
shapes—including cylindrical, pyramidal, conoid, quad- 
rilateral, and three-sided rounded beads—and are engraved 
with rude pictographs, consisting of primitive renderings 


FIG. 3. IMPRESSIONS OF PRIMITIVE CRETAN PICTOGRAPHS 


of human beings, animals, ships, floral patterns, branches, 
spirals, meanders, and zigzag and crossed lines (fig. 3). 
It is clearly an experimental stage without traditional 
forms. The stone is invariably of a soft variety, that is, 
steatite of different colors. 


MIDDLE MINOAN PERIOD 
ABOUT 2200-1600 B.C. 


In the Middle Minoan period, which is about contem- 
porary with the Middle Kingdom of Egypt, Cretan civili- 
zation reached its first climax. Crete was now in active 
intercourse with foreign lands, and her increased trade 
brought greater wealth to her inhabitants, as is shown by 
the building of the first palaces of Knossos and Phaistos, 
and, in the Middle Minoan III period, the beginning of the 
second Knossian palace. A great advance was made in the 


Case N 


Pottery 
Casein 


Pedestals 
M,O,X 


Case J 


Annex 


I2 ries 9 ROOM 


various arts. Especially remarkable is the polychrome 
pottery, which, with its rich coloring and often egg-shell 
thinness, is perhaps the most striking that has been found 
in Crete. Work in metal was equally flourishing, for a 
number of beautiful metal cups and some gold jewelry have 
been found. Seal-engraving likewise reflects the general 
advance. 

This period is represented in Crete not only at Knossos 
and Phaistos and in neighboring sites, but also in the east- 
ern part of the island, at Gournia, Pseira, Mochlos, Pach- 
yammos, etc. It can be fairly well studied in its various 
phases in our collection. In Case S are a number of 
original specimens, both whole vases (some partly restored) 
and vase-fragments; and in Case Y is a representative 
showing of reproductions. The influence of contemporary 
metalwork will be seen in the shapes of the vases and in 
the. general precision of the work. A study of these vases 
will show that the rich polychrome style, in which white, 
red, and orange are applied on a blackish ground, is 
restricted to the Middle Minoan II period. ‘The earlier 
and later specimens (Middle Minoan | and III) show only 
white on a dark ground, and are, moreover, made of a 
thicker clay. In the decoration, one of the most interesting 
features is the gradual evolution from the geometric to 
the naturalistic style, in which the designs imitate natural 
objects. This naturalistic style appears fully developed 
in the: Middle Minoan III period, and is well illustrated 
in the three burial jars from Pachyammos (Pedestals 
M, O, X), on one of which is a charming picture of dolphins 
swimming (see head-band, p. 3), and the famous lily vase 
from Knossos (Case J, Annex). 

Side by side with the polychrome style, and contempo- 
rary with it, appears a pottery with monochrome deco- | 
ration. The designs, which are painted in lustrous black, 


PiemwiohrORTC GREEK PERIOD 13 


are not carried out with the same precision as in the 
polychrome variety, but are treated in a sketchy manner, 
the paint being used in large daubs and splashes. The 
most interesting piece of this style in our collection is a 
large beaked jug from Knossos, decorated on each side 
withthe figure of a bird (Case T), 
probably an importation from 
the island of Melos, where a num- 
ber of similar vases have been 
found. 

Of even greater interest than 
the vases of this period is the 
collection of statuettes, reliefs, 
and vases unearthed by Sir Ar- 
thur Evans at Knossos in what 
appears to have been a temple 
treasury of the Middle Minoan 
III period. They consist of a 
snake goddess and her attend- 
ants, and various other objects, 
all executed with remarkable skill 
in richly colored glazed earthen- 
ware. A set of reproductions is 
shown in Case V. ‘Two figures of 
women (about a foot high), Fic. 4. sNAKE GODDESS 
dressed in an extraordinarily FROM KNOSSOS 
modern-looking costume, are 
holding snakes at arm’s length, while other snakes are 
coiled round them (see fig. 4). The costume is typically 
Minoan, consisting of a richly embroidered jacket with 
open front, laced bodice, and, in one case, a flounced 
skirt. What the significance of this group was we can 
only conjecture; that it was religious is highly probable, 
and since we know from many other representations 


Cuseel 


Case V 


Bronze 
Dagger 
Blade 


Case U 


14 FIRST ROOM 


that one of the chief divinities of Crete was a mother- 
goddess, it is likely that we have here a representation of 
her. The other objects found in the same temple reposi- 
tory are of great variety. There are votive robes deco- 
rated with crocuses (see tail-piece, p. 45); votive girdles 
and shields; flying fish, cockle shells, rocks, and seaweed; 
beautifully shaped cups decorated with fern-like sprays; 
and, most remarkable of all, two reliefs, one a group of a 
cow and a calf (fig. 6), the other of a goat with her young. 
The naturalistic style already observed on contemporary 


FIG. 5... DAGGER BLADE Wii ee n= 
GRAVED DESIGNS 


pottery is here shown at its height. The representations 
are studied directly from nature, and reproduced in a 
delightfully spontaneous and sympathetic manner. 

The little painted terracotta figures from Petsofa, in 
Case B, are considerably earlier than the snake goddess 
group and probably belong to Middle Minoan | and II. 
They are more roughly worked but have the same 
live, modern appearance and bring before us still another 
style of Cretan costume—bell skirts, open jackets, Medici 
collars, and “plate hats.” The statuettes were found in 
what was probably a shrine and were evidently votive 
offerings. The separate arms found with the figures can 
only be explained as such. 

Perhaps the most important single original piece in our 
collection is a bronze dagger blade from the Lasithi plain 
(Case U; fig. 5), bequeathed by Richard B. Seager. It is 


Pees RIC GREEK PERIOD 15 


engraved with two spirited scenes: a fight between two 
bulls, and a man spearing a boar. It is the earliest known 
predecessor of the ornamented dagger blades from My- 
cenae (p. 23). 

We have seen that seal-engraving in the Early Minoan 
period was in an experimental stage (see p. 11) consisting 
of rude pictographs on soft stones of great variety. As 
time went on, the three-sided elongated bead became the 
most popular, we 
might almost say 
the standardized 
shape, while the 
pictographs were 
transformed into 
less rude, more con- 
ventionalized forms 
(see our examples 
in Case N). Sev- 
eral symbols now 
generally occur to- 
gether, showing 
that from mere ideographic meaning they had acquired 
a phonographic value as syllables or letters. In other 
words, the primitive pictographs have evolved into hiero- 
glyphs. The material still remains the soft steatite. 
Over sixty examples in our collection, dating from the end 
of the Early Minoan to the beginning of the Middle 
Minoan period illustrate this interesting stage (cf. fig. 7). 
It is noticeable that in the earlier examples we often find 
side by side with the hieroglyphic forms the primitive 
pictographs, which naturally. persisted for some time. 
We note, for instance, on one face of a bead a single 
human figure, while on the others is a collection of symbols, 
clearly “formulae”? for the formation of words. The 


FG. 02 COW (SUCKLING A. CALF 
FROM KNOSSOS 


Seal- 
Engrav- 
ings 


CaseN 


16 FIRST ROOM 


words themselves we cannot read, but how eloquent they 
are, nevertheless, of the evolution of human language! 
By the Middle Minoan III period further great strides 
have been taken. The stones are now no longer steatite 
but hard varieties, such as carnelian, chalcedony, green 


FIG. 7. IMPRESSIONS OF PRIMITIVE CRETAN HIEROGLYPHS 


jasper; and the symbols appear in highly systematized 
form, executed often with great nicety. The hieroglyphic 
script has reached its full development. Twenty-five 
beautiful examples of this class, chiefly three-sided elon- 


FIG. 8. IMPRESSIONS OF DEVELOPED CRETAN 
HIEROGLY PHS 


gated and four-sided equilateral beads, are included in our 
collection (cf. fig. 8). The symbols used are convention- 
alized flowers, heads of animals, implements, the human 
eye, two crossed arms, all familiar signs of Minoan vocab- 
ulary, a few, but only a few of which bear a distinct re- 
semblance to Egyptian hieroglyphs. 


feenttetooRIC GREEK PERIOD Le7 


The “Phaistos Disk’? (Case B) is by far the longest Phaistos 
written document found in Crete. It is covered on both es 5 
sides with a continuous hieroglyphic inscription arranged 
in a spiral. The signs, which were stamped into the clay 
while it was soft, consist of human figures and animals 


FIG. 9. CAT HUNTING A PHEASANT 
FRESCO FROM HAGIA TRIADA 


or their parts, plants, weapons, and various implements. 
Some of these signs bear an unmistakable resemblance to 
other Minoan hieroglyphs, but a large number of them are 
new, and others are distinctly un-Minoan. Sir Arthur 
Evans accordingly believes the disk to be non-Cretan and 
the product of a “parallel and closely allied culture existing 
somewhere on the Southwest coastlands of Asia Minor.” 
A steatite libation table found in the Diktaean Cave 
(Case C, Annex) is especially interesting for the inscription 
it bears, which appears to be “‘a prehistoric dedication 
belonging to the linear type of the Cretan writing.”’ 


18 PIRST ROOM 


LATE MINOAN PERIOD 
ABOUT 1600-1100 B.C. 


In the Late Minoan period, which is parallel with the 
Empire of Egypt, the second and greater climax of Cretan 
civilization was reached. The ascendancy of Crete in the 
Aegean world was now complete, and her influence, or 
perhaps her domination, 
was asserted throughout 
the Cycladic Islands and 
the mainland of Greece. 
With Egypt, the other great 
civilized power of the epoch, 
she had close and it would 
seem friendly connections. 
This is the period in which 
King Minos lived, whose 
fame survived in Greek legends, and to whose brilliant 
personality the greatness of Crete at this time may in no 
small measure be due. 

In discussing the remains of this period we can no longer 
restrict ourselves to the island of Crete. Both the main- 
land of Greece and the Aegean Islands have yielded valu- 
able objects, some of which may have been imported from 
Crete, while others are certainly of local manufacture. 
But whatever the provenance, the art of this period is 
homogeneous and must be treated as a whole. For 
convenience of classification and to understand more 
clearly the successive styles of this period, we shall divide 
our material into the First, Second, and Third Late 
Minoan epochs. 


FIG. lO. FY INGRHISH 
FRESCO FROM MELOS 


LATE MINOAN I (1600-1500 B.C.) 
In Crete the beginning of the period (Late Minoan |) 
marks the height of prosperity of the smaller sites, such as 


Pees nC GREEK PERIOD 19 


Hagia Triada, Gournia, and Zakro. Here we find all the 
signs of an era of peace and quiet well-being, and this is re- 
flected in the delicacy of its artistic productions. In Greece 
Minoan art shows itself securely established, as evinced by 
the finds at Mycenae, Asine, 
Thebes, Tiryns, and else- 
where. 

Among the remains of 
this period, the most signifi- 
cant are the wall-paintings. 
Copies of some of the most 
important examples, found 
' chiefly in the small palace 
of Hagia Triada, are in our 
collection (north wall, Nos. 
foraee iy, bo. Lhe best 
known is the famous paint- 
ing of a cat hunting a pheas- 
ater ie. oO); The 
scene is laid in a rocky land- 
ee uing ivy FIG. II. STEATITE VASE 
plant in the center; to the “sin gE Ce COE 
left a pheasant with a long 
tail and bright plumage is perched on a tree trunk or rock, 
unconscious of approaching danger; behind it, a cat is ad- 
vancing with stealthy tread and eyes fixed on its prey, 
ready for the final spring. As an example of sympathetic 
study of animal life, simply but effectively rendered, this 
scene could hardly be surpassed. 

In the same room of the palace were found other frag- 
ments of frescoes, also depicting out-of-door life. One 
represents a hare, of which all but the head is preserved, 
running at full speed (No. 11). Another shows a flowering 
plant and branches of ivy delicately painted in brownish 


Wall- 
Paintings 


Sculpture 


20 ELRS I R.0, OM 


tints (No. 13); on the left of these can still be seen the 
curved back and the horn of an animal, probably a bull. 
On others we see stately lilies (No.10), drooping crocuses, 
and delicately veined leaves (No. 18). The representation 
of a woman in a brightly colored costume (No. 7, Annex) 
belongs to the same series. She wears what at first sight 
appears to be a pair of loose trousers, but is more probably 
the familiar bell-shaped skirt ending in a point in the 
middle of the front. It is of a sky-blue color, ornamented 
with red crosses on a white ground, and with variegated 
flounces, and it is an excellent example of the gay Mi- 
noan costumes. Most of the upper part of the figure is 
missing. 

At Knossos the earliest example of fresco painting 
is a boy gathering crocuses and placing them in a vase! 
(west wall, No. 32). It shows the same spontaneity and 
delicacy of feeling as the Hagia Triada paintings, but is 
older, dating probably from Middle Minoan II. Recently 
Sir Arthur Evans has found near Knossos some remarkable 
frescoes of the Late Minoan [| period, which is otherwise 
sparsely represented there. They represent a painted 
frieze of partridges (No. 1, Annex) and monkeys and birds 
among plants (Nos. 2, 3, 5). 

The fresco of the flying fish from Phylakopi in Melos 
(south wall, No. 30) is another example of this same natur- 
alistic style (fig. 10). Though painted in Melos it was 
probably done by a Cretan artist and bears witness 
to the close connection between Crete and the Aegean 
Islands. ; 

The chief sculptural works of this period which have 
been recovered in Crete are the little ivory figures of 
leapers found at Knossos, and three steatite vases with re- 
liefs from Hagia Triada. Our collection includes copies of 


1In the recent earthquake this fresco was totally destroyed. 


Peer C GREEK PERIOD 21 


these.! The ivory figure (Case B) is conceived apparently 
as a leaper in a bull-fighting scene such as that represented 
in the fresco No. 23. In its fresh sense of life and move- 
ment and in its fine appreciation of the litheness and 
delicacy of the human form it is almost Greek and shows 
perhaps better than any other prod- 
uct of the time the essential kinship 
between Crete and Greece. Several 
of these figures were found together, 
in a very precarious state of preser- 
vation, and were only saved from 
complete decomposition by timely 
soaking in melted wax and paraffin. 
The one here shown is the best pre- 
served. From another example we 
know that the holes in the head 
served for the attachment of long 
locks of hair in gold-plated bronze; 
the streaming hair must have added 
greatly to the effect of the whole. 
The “Harvester Vase”’ (Case R; 
fig. 11) is decorated with a procession 
of twenty-six men marching gaily to 
the music of an Egyptian sistrum. ‘FIG. 12. STEATITE 
Some are singing with evident en- ‘4° an 
joyment, their mouths wide open. 
At the head of the procession is a personage clad in a scaly 
cuirass. The rest are nude, except for a loin-cloth, and 
most of them carry “ winnowing forks’’ over their shoulders, 
so they probably represent peasants. The splendid move- 
ment of the figures in their swinging march, the animation 


1The Fitzwilliam Museum, Cambridge, England, has recently acquired 
a stone statuette of this period representing a mother goddess. A cast 
is shown in Case B. 


Case B 


Case R 


Case H 


Case B 


Gold- 
smith’s 
Work 


22 FIRST ROOM 


of the faces, and the skilful way in which the relief is 
managed make this vase a masterpiece of Cretan art. 
Such spirit and realism are not met with again until the 
Hellenistic period, almost one thousand four hundred years 
later. 

The decoration of the “ Boxer Vase”’ (Case H; fig. 12) is 
full of the same animation. The subjects represented are 
boxing matches and a bull-hunt. Some of the boxers wear 
helmets with visors and cheek-pieces, as well as boxing 
gloves. In the bull-hunt two powerful bulls are seen 


FIG. 13. GOLD CUPS FROM VAPHIO WITH BULL~ — 
HUNTING SCENES ; 


charging to the left, one of them tossing a man on his horns. 

In the “Chieftain Cup” (Case B) is a quieter scene of 
only five figures—a chieftain into whose august presence an 
officer, with his train of three men, has just been admitted. 
The soldiers are almost hidden behind their large shields of 
hide; the officer stands at attention; the chieftain’s proud 
bearing marks him out as the ruler of the clan. It is a 
representation full of charm and subtle characterization. 

These steatite vases were in all probability gilded, and 
were thus imitations of goldsmith’s work in a cheaper 
material. Gold vases, having intrinsic value, are of course 
not nearly so likely to survive as those of stone or clay. 
By some good fortune, however, there has been preserved 
a series of gold vases which show the goldsmith’s art of 


Peer ORL CC - GREEK PERIOD 23 


this period at a high level. These come not from Crete, 
but from Greece, where the wealthy princes of the land 
(who were perhaps Minoan conquerors) must have lived 
in high estate. The majority were found by Schliemann 
in the shaft-graves at Mycenae, while the two best known, 
the Vaphio cups (fig. 13), slightly later in date, come from 
a Laconian grave. The most notable examples are shown 
in our collection in electrotype reproductions (Case ]). 
Their forms and decorations have evoked much admira- 


FIG. I4. INLAID DAGGERS FROM MYCENAE 


tion, and they have been frequently copied by modern 
craftsmen. Whether they were made in Greece or im- 
ported from Crete is a debated question. The close paral- 
lelism between the bull-hunting scenes of the Vaphio cups 
and that on the Boxer Vase from Hagia Triada makes 
a Cretan origin for the former at least probable. 

The other reproductions in this case show the variety 
of objects found in the shaft-graves of Mycenae: masks, 
ornaments, a silver head of a bull, a fine series of engraved 
gold rings, and—most noteworthy of all—bronze dagger- 
blades with scenes inlaid in different metals (fig. 14); of 
these, one represents a lion hunt, another three running 
lions, while two show spiral and floral designs. All are exe- 


Case J 


Pottery 


Cases J,K 


Annex 
Pedestals 


? 


24 FR i VKeO'OrmM 


cuted with great freedom of style. Our reproductions 
of these are considerably restored. 

The pottery of the Late Minoan I period is represented 
by a number of reproductions, as well as some original ma- 
terial, which will give a good idea of the prevalent shapes 
and decoration. Both in style and in technique it is the 
direct outcome of the pottery of the preceding period. 
Pure naturalism has now become the dominant character- 
istic, the motives being taken almost entirely from plant 
and marine life. The lily, the iris, the crocus, grasses, and 
tendrils are favorite subjects, as well as the octopus, the 
nautilus shell, and seaweeds. These are executed in a free 
and graceful style, with a fine feeling for selection and 
srouping. Of the two techniques in vogue during the 
Middle Minoan period, the light-on-dark was not long 
retained in this epoch, while the dark-on-light, in which 
the designs are painted in lustrous brown glaze on the buff 
eround of the clay, gained complete ascendancy. It 
should be noted that details are often picked out in white 
paint. The shapes show considerable variety, the conical 
filler and the one-handled cup being the most popular. 
The so-called stirrup vase, which was to become a great 
favorite in the Late Minoan III period, now makes its first 
appearance. 

Noteworthy examples of reproductions of this pottery 
have been placed in Cases J] and K (Annex), and on 
Pedestals K, Z (fig. 15). Foremost must be mentioned 
the stirrup vase from Gournia with its realistic octopus 
and other sea-plants and sea-animals. The decoration 
has been compared to an aquarium. If so, it is an aqua- 
rium consciously arranged, for the composition shows no 
mere chance combination, but a decorative grouping com- 
parable to an Oriental animal rug. The same blending 
of naturalism with strong decorative feeling is shown in 


Peek PGs GREEK PERIOD 25 


greater or less degree in the other examples, for instance, 
in the one-handled vase from Zakro, the dolphin filler 
from Pseira, the fillers from Gournia and Hagia Triada, 
and the vases from Melos. A large jar from Pseira 
(Pedestal K) has a handsome spiral decoration. 

Of the original specimens in our collection (Case S) spe- 


FIG. 15. CRETAN POTTERY 


cial mention must be made of a “flower-pot”’ from Phyla- 
kopi in Melos, with a decoration of grasses (top shelf); a 
cup from Pseira with a simple spiral ornament; a cup of 
the shape of the Vaphio cups, also with a spiral ornament. 
In Case P are exhibited several hand-carved stone vases 
of this period, including some handsome “ blossom”’ bowls. 

At about this time there came an important develop- 
ment in Minoan writing. ‘The linear script, of which there 
is some evidence even in the Early Minoan period (cf., 
e.g., No. 26.31.165 in our collection) was developed side 


Case § 


Stone 
Vases 


Case P 


Clay 
Tablets 


Case G 


Seal- 
stones 


Case N 


26 RiR'S TARO OM 


by side with the more popular pictographic script until 
it finally gained almost complete ascendancy. For it is 
natural that constant repetition of pictographic symbols 
would in time tend to simplify these into linear equiva- 
lents. On the clay tablets of Hagia Triada and of 
Knossos—that is, in the Late Minoan I and II periods— 
the linear script is accordingly the universal form. Our 
collection includes copies 
of seventeen of these (Case G). 
And concurrently it disappears 
from the sealstones; for having 
no longer an aesthetic value, it no 
longer appealed to the stone en- 
eravers—fortunately for us, be- 
cause i1t made way for the natur- 
alistic designs of purely orna- 
mental character which rank among the finest products of 
Cretan art. Through the bequest of Richard B. Seager, 
and a few purchases made from time to time, our collection 
is very rich in these stones (Case N). The favorite repre- 
sentations are animals—note particularly some reclining 
bulls, a wounded bull, an ibex, and two fishes (fig. 17)— 
beautifully composed and delicately executed. We realize 
that the fine understanding of animal life which we so 
much admire in the representations of fifth-century gem - 
engravers was a quality inherited from a much earlier age. 
The most prevalent forms for the stones are lentoid and 
glandular, clearly derived from the former rounded and 
elongated beads, but now regularly with two instead of 
three faces. The variety of stones used—mostly hard 
quartzes, such as carnelian, agate, jasper, chalcedony, and 
rock crystal—adds very greatly to their general attractive- 
ness. In addition to these stones there is a red jasper 
ring, important for its rarity and for the interest of the 


FIG. 16. IMPRESSION OF 
A CRETAN RING 


Peis OrRrC GREEK PERIOD 27 


subject engraved on the bezel, evidently a cult scene with 
three women approaching a female seated deity (fig. 16). 
A number of electrotype reproductions of the famous gold 
rings from the shaft-graves of Mycenae are shown in 
Case J. The subjects on the bezels consist of cult scenes, 
deities, demons, hunting and war scenes, and animals, ex- 
ecuted with the same élan and vivacity as in the Cretan 
sealstones. Plaster impressions from stones in other col- 
lections are in the drawers of Case P. 


FIG. 17. IMPRESSIONS OF NATURALISTIC CRETAN 
DESIGNS 


LaTE MINOAN II (1500-1350 B.c.) 

The Late Minoan I] period was one of great wealth and 
splendor. Our interest in Crete now centers in the great 
palaces, instead of in the smaller sites. The palace of 
Knossos was remodeled on a large scale, and the second 
palace of Phaistos was built. The imposing ruins of these 
palaces are still standing; and with their spacious courts, 
broad stairways, pillared halls, and luxurious fittings 
testify to the brilliance and refinement which surrounded 
the life of the Minoan princes of this epoch. Greece was 
still under Cretan influence, copying and importing Cretan 
works of art. 

Besides architectural remains there has been found, es- 
pecially at Knossos, a large amount of material—frag- 
ments of wall-paintings, colored reliefs, stone vases, 
pottery, engraved stones, inscribed tablets, and so forth, 
which together enable us in some measure to reconstruct 
the picture of the past. Of the greatest. interest are, of 


Case J 


Wall- 
Paintings 


FRESCO FROM KNOSSOS 


28 PiRST ROOM 


course, the wall-paintings, on which we find represented 
various scenes of palace life, and from which we can get 
an idea of what the men and women of the time looked like. 
Our collection includes reproductions of the most impor- 
tant examples, all found in the ruins of the palace of 
Knossos. The best known of these is 
the famous Cupbearer (south wall, 
No. 26; fig. 18), representing a youth 
advancing slowly in a dignified pos- 
ture, carrying with both hands a long, 
pointed vessel of a shape often found 
in Crete (see examples in Cases J and 
kK, Annex). His skin is painted 
brown, according to a regular conven- 
tion, also in vogue in Egypt, which 
depicted men brown and women 
white. ‘Traces of another figure show 
that this is only one of a procession of 
youths. When this fresco was dis- 
covered, it was the first portrait of a 
Minoan man that had come to light. 
The occasion was significant; for the 
excavators could then for the first 
time visualize the men whose history 
they were rescuing from oblivion. The 
outstanding facts which the fresco 
teaches are that the Cretans were a dark-eyed, dark-haired 
race, with regular, almost classical featuresand high brachy- 
cephalic skull, not unlike certain types still to be found 
in Crete today. In general appearance and bearing they 
look worthy of their great history. Other interesting fea- 
tures which this fresco shows (as do other representations) 
are that the Cretan men wore loin-cloths, often richly em- 
broidered, and bracelets, and let their hair grow long, 


FIG. 18. CUPBEARER 


Peon - GREEK PERIOD 29 


Nos. 6, Annex, and 33 (west wall) are portions of a similar 
procession, consisting originally of a series of life-size 
human figures, both male and female. Of the greater part 
of these only the feet and the lower part of the dress 
remain; but two figures of youths lacking only the head 
and shoulders were recovered, and it is these, together with 
a reconstructed third figure, that are shown in No. 6, 
Annex. No. 33 gives us valuable evidence regarding the 


Gi 


AMARANTE MA ETD PORTAL ERTL 


FIG. 19. SCENE FROM A MINOAN CIRCUS 
FRESCO FROM KNOSSOS 


costumes worn by the ladies of Knossos; for it shows the 
lower part of a skirt elaborately ornamented with deco- 
rative borders, executed in blue, red, yellow, and white. 

A fresco of great interest is one with a scene from a 
Minoan circus (south wall, No. 23). It represents a 
charging bull—the popular animal of Crete—about to 
toss a girl toreador caught on its horns, while a youth 
appears to be turning a somersault on its back, and another 
girl is standing behind with both arms outstretched 
(fig. 19). What is the meaning of this remarkable repre- 
sentation? Did Minoan youths and maidens acquire 
sufficient skill in sports of this kind to display their ac- 


Annex 


West Wall 


South 
Wall 


West Wall 


Case L 


30 FIRST ROOM 


complishments to their relatives without danger to their 
lives? Or are these toreadors captives from other lands 
about to be the victims of the Minoan bull, and have we 
here the reality from which the legend of the Minotaur 
arose? 

Two frescoes (south wall, Nos. 24, 25), each showing 
the upper part of a woman, one evidently in the act of 
dancing, give a good idea of what the fashionable ladies 
of the period looked like. With their piquant faces, elabo- 
rate coiffures, and clothes which resemble our twentieth- 
century fashions, these women present a surprisingly 
modern appearance. 

We experience the same feeling of kinship as we examine 
two fragments of “ miniature’’ frescoes representing assem- 
blies of men and women (west wall, Nos. 36 and 37). 
Ladies of the palace, dressed in gaily colored clothes of 
characteristic Minoan design, and brown-skinned men with 
long black hair have come together in large numbers to 
attend some religious festival or show. The women are 
represented as sitting together, engaged in animated talk, 
or walking with arms raised, perhaps in an act of salutation 
or performing a dance. On one fragment the locality is 
indicated as a shrine; on the other, as a garden. 

A griffin, of a curious type, without wings and with a 
crest of peacock plumes, is an imposing decorative piece 
(No. 4, Annex). It was found in the Throne Room 
at Knossos, being one of two such animals which flanked 
the door leading into a smaller inner chamber. In each 
the background.consists of a picturesque landscape with a 
stream and flowering plants. 

The paintings on a limestone sarcophagus found at 
Hagia [I riada are of unusual interest (Case L; fig. 20). The 
scenes have been identified as representing funerary rites. 
On the side which is better preserved we see on the extreme 


Meer onsoRilG GREEK PERIOD 31 


right a figure closely swathed, standing erect before the 
facade of a building—probably the figure of the dead man 
standing before his tomb. He is approached by three 
offering-bearers carrying a model of a ship and two calves. 
On the left another rite is taking place. A woman is 
pouring a libation from a pail into a large vase between two 


FIG. 20. PAINTED SARCOPHAGUS FROM HAGIA TRIADA 


posts, surmounted by double axes and sacred _ birds. 
Behind follow a woman carrying two pails, and a lyre- 
player. 

The subject on the other side also clearly refers to some 
ritual. On the extreme right a woman is standing before 
an offering table, with both arms extended as if invoking 
a deity. Behind the table is an altar on which are placed 
“horns of consecration,” and a post, again surmounted by 
double axes with a sacred bird. In the center of the scene 
the sacrifice is taking place. One bull has already been 
killed and two deer are awaiting their turn. ‘The rest 
of the scene is taken up by a procession. The two ends 
of the sarcophagus are likewise decorated. On one is 


East Wall 


oe FIRST ROOM 


represented a two-horse chariot driven by two women; 
on the other a chariot drawn by two griffins and driven by 
a woman who has beside her a swathed figure—again 
probably the figure of the dead man. The execution of 
the paintings is not very careful, and dates either from the 
end of the Late Minoan II or more probably from the 
Late Minoan III period. 

The chief interest of this sarcophagus lies in the data 
that it furnishes regarding Minoan ritual. Aegean religion 
presents many problems which cannot yet be settled. It 
is difficult enough to reconstruct an ancient civilization 
merely from such remains as happen to have survived; but 
to understand the religion of a people who lived three 
or four thousand years ago without the help of literary 
testimony is well-nigh impossible. From the evidence at 
our disposal, consisting either of scenes of worship or of 
religious objects in shrines, it seems certain that the chief 
divinity was a great nature goddess. Minoan worship 
appears to have consisted largely in the adoration of 
religious symbols, which were either natural objects, such 
as stones and trees, or artificial, such as pillars, cones, the 
double axe, the horns of consecration, and perhaps the 
cross. 

Besides figured scenes, a number of frescoes have been 
recovered with ornamental designs, evidently used as 
decorative friezes. We have copies of two typical exam- 
ples, one showing a double spiral pattern, the other a leaf 
design (east wall, Nos. 19 and 20). Both testify to the fine 
decorative sense of the Cretans. 

Recent excavations in Greece—at Tiryns, Mycenae, 
Thebes, Orchomenos, and elsewhere—have taught us that 
the palaces of the mainland princes were likewise decorated 
with colored frescoes. The art of fresco painting appears 
to have been brought from Crete to Greece in the Late 


& 


PREHISTORIC GREEK PERIOD 33 


Minoan | period, and developed independently there until 
the break-up of the Minoan civilization. One of the finest 
examples of the earlier (Late Minoan I-I1) style is a pro- 
cession of women, of almost life size, found in the ‘“‘ Palace 
of Kadmos”’ at Thebes. A copy of one of these is in our 
collection (west wall, No. 34). A woman is represented 
as advancing slowly, holding a vase in one hand and a 
flower in the other. She has the alertness, queenly bear- 
ing, and modern appearance of dress and hair which we 
have noticed in her Cretan contemporaries. The copy 
here shown is a reconstruction made from a number of 
small pieces belonging not to one but to several figures. 

Two ornamental friezes from the earlier palace of Tiryns, 
which belongs also to the Late Minoan I-II periods, are 
included in our collection (west wall, Nos. 1 and 5). 
One represents votive shields combined with rows of con- 
tinuous spirals; the other has a design of interlacing spirals 
and “palmettes”’ similar to that on the famous Orcho- 
menos ceiling (see p. 36). It is interesting to compare 
in this connection the ceiling from the palace of Amenhotep 
III (a piece of which is exhibited in the Egyptian Depart- 
ment of this Museum, Room V1), where the same motive of 
interlacing spirals is employed, but with the substitution 
of bulls’ heads for the palmettes. 

Frescoes did not form the only wall decorations of the 
palace of Knossos. Excavations have yielded some valu- 
able reliefs of colored limestone, which show us what the 
sculptors of the period could do. The most important is a 
figure of a man wearing a plumed headdress, and restored 
as holding a staff (north wall, No. 16). Whom he repre- 
sents is doubtful. Sir Arthur Evans suggests that we may 
have here one of the priest-kings of Knossos. The model- 
ing, though incorrect in some details, shows great vigor 
and direct observation of nature. The same is true of two 


Sculpture 


Statuettes 


Case B 


Animals 


Case F 
Annex 


34 ForPR Stl ee OM 


other fragments of male figures, one a left arm holding a 
pointed vase, the other a right shoulder and upper arm 
(east wall, Nos. 21 and 22). Pieces such as these make us 
wish the Cretans had also tried their hand at statues in the 
round, which—to judge from the material recovered—they 
did not. Only statuettes and single heads of animals have 
so far been brought to light. Their achievements along 
these lines can be studied in our copies of bronze statuettes 
from Tylisos, Hagia Tria- 
da, and other sites, and — 
two original examples be- 
queathed by Richard B. 
Seager, all shown in Case 
B. The men have long 
hair and small waists, and 
generally stand in mag- 
nificent, proud attitudes. 
A statuette of a galloping 
bull with a youth standing 
on his back is readily squnected with other “bull leaping”’ 
scenes (cf. No. 23). A little girl in a swing is an engaging 
piece, found at Hagia Triada. She has long, curly hair, and 
her simple apron-like dress is in marked contrast with the 
elaborate garments worn by the women of the Petsofa and 
snake goddess groups. 

A splendid piece of animal portraiture is the famous relief 
of the head of a bull (west wall, No. 31; fig. 21). Other 
fragments found with it show that originally it was part 
of a larger composition, either of two such animals, or of a 
man fighting with a bull. A steatite head of a bull from 
Knossos (Case F, Annex) is an impressive example in 
the round. It probably served as a rhyton or libation 
vase, since it has a hole at the top of the head and one in 
the mouth, as well as a lid which fits the back. Another 


FIG. 21. HEAD OF A BULL 
FROM KNOSSOS © 


Preriveat ORLO GREEK -PERIOD 35. 


interesting example of animal sculpture is the marble head 
of a lioness (Case C, Annex). It was probably a spout of Case c 
a fountain, as is shown by the round hole for a pipe in the 4””¢* 
neck and a small perforation at the mouth. 

In this sculptural section may be included the cast of the 
famous Lion Relief from the gate of Mycenae (north wall, 


PiG. 22. “fHE ENTRANCE TO THE FORTRESS OF MYCENAE 
SHOWING THE LION RELIEF IN POSITION 


No. 9). The original is still in position and was known 
long before the excavations at Mycenae were begun 
(see fig. 22). Its date is not certain. Some have placed 
it as early as the first Late Minoan period, while others 
assign it to the beginning of the Late Minoan III period 
(see p. 41). 

Stone-cutters of this period gained also great proficiency Stone 
in making furniture, friezes, vases, lamps, weights, and cork 
other objects. The most imposing example of such work 
in our collection is the cast of the famous throne of gypsum, 


36 FIRST ROOM 


PedestalW popularly known as the Throne of Minos (Pedestal W). 


Pedestal Q 


Cases i 
J, Annex 


It is of simple, dignified design, with a high back of undu- 
lating outline, and a seat slightly hollowed out. The 
original is still in position where it was found undisturbed 
after having been buried for more than three thousand 
years. It occupies the central position in what was per- 
haps a council-chamber, and must have served as the 
seat for the king or the presiding officer. 

Architectural reliefs were popular both in Crete and on 
the mainland. Our collection includes reproductions of 
examples from the palace of Knossos, the “Treasury of 
Atreus”’ at Mycenae (south wall, Nos. 27 and 28), and the 
“Treasury of Minyas” at Orchomenos (west wall, No. 
35). They show effective designs of spirals, palmettes, 
rosettes, and disks. From this same “Treasury of Atreus”’ 
(in reality a large beehive tomb) come the two splendid 
half-columns which flanked the entrance (west wall, door- 
way; fig. 23). It will be observed that they are wider 
at the top than at the bottom. This is one of the char- 
acteristics of Minoan columns, and distinguishes them 
both from the classical Greek and from modern examples. 
The origin must be looked for in wooden architecture, 
where wooden poles would be made smaller at the bottom 
for insertion in the ground. The actual date of the 
“Treasury of Atreus”’ and some of the other beehive tombs 
in Mycenae is still under discussion. 

Stone vases were among the finest products of the 
Minoan stone-cutters (fig. 24). An impressive piece is a 
massive stone amphora from Knossos with three upright 
handles and a decoration of spiral bands (Pedestal QO). It 
is about 274 inches high, and the original is so heavy that 
it required eleven men to carry it. Smaller stone vases, 
lamps, and shells are shown in Cases C, F, and J in the 
Annex. The originals are of variegated marbles, alabaster, 


Peete GC GREEK PERIOD 37 


and steatite. Both in form and in finish of workmanship 
they can be regarded as masterpieces of their kind. 
Especially noteworthy are the weight of purple limestone 
decorated with an octopus on each side, the standing lamp 
with lotos ornamentation (Case J), and a steatite casket 
from Mycenae with marine designs (Case F). A fragment 


FIG. 23. THE ENTRANCE TO THE “TREASURY OF ATREUS”’ 
IN ITS PRESENT CONDITION 


of an original stone lamp from Gournia is in Case B. 
It must have been a large, handsome piece with several 
wick-sockets, perhaps for ceremonial use. 

The royal splendor of Knossos is eloquently brought 
before us in a magnificent ivory board over 4 feet by 2 
feet originally covered with gold-foil and inlaid with rock 
crystal, silver, and blue paste (Case H, Annex). It is 
generally identified as a “gaming board.” The original 
was found in a very broken condition, and the reconstruc- 
tion shown in our reproduction is only tentative. 

Our knowledge of Cretan architecture as revealed by 


Gaming 
Board 


Case H 


Annex 


Glazed 
Plaques 
Case G 


Pottery 


Pedestals 
Fron oen a 


Annex 


Casey 


Bronzes 


Case G 


Objects 
from 
Diktaean 
Cave 


Case U 


38 FIRST ROOM 


the ruins of palaces and houses is supplemented by an 
interesting series of glazed terracotta plaques slowing 
facades of houses. Reproductions of these are exhibited 
in Case G. The originals were found at Knossos and 
probably once served as inlay of a casket. The houses 
depicted are generally two stories high with several win- 
dows and flat roofs. The designs are very simple and 
unpretentious, not unlike, in fact, the provincial houses of 
modern Greece. 

The pottery of this epoch reflects the spirit of the times. 
In technique it remained the same as that of the Late 
Minoan | period, but the designs developed from pure 
naturalism into conventional naturalism. The surface of 
the vase is generally covered with elaborate designs in 
a highly decorative, architectonic style. Vases of large 
dimensions are common, and these indeed show the style 
to greatest effect. Superadded white is no longer used. 
Among the reproductions of pottery of this ‘Palace Style” 
in our collection we may mention particularly a magni- 
ficent large jar with conventionalized plants and spirals 
(Pedestal G, Annex) and a vase with a palmette design also 
from Knossos. Three splendid jars from Kakovatos 
in Greece (Pedestals A, B, D, Annex) illustrate the style 
of the end of Late Minoan | and of Late Minoan II on the 
mainland. A fine original specimen decorated with spirals 
is in Case T and fragments are placed in the drawers of 
Case F. 

Several original bronze tools and weapons, some in ex- 
cellent preservation, are shown in Case G. They are 
mostly of Late Minoan date. So are also five bronze 
double axes in Case Y. 

A group of objects found in the Diktaean Cave, the 
reputed birthplace of Zeus, are bequeathed by Richard B. 
Seager (Case U). They are votive offerings of pious 


Pieeeoom st SC GREEK PERIOD 30 


Cretans brought to this sacred grove during the Late 
Minoan period—double axes, knives, tweezers, hair 
fasteners, a needle, a chisel, etc. Hundreds of such 
objects were found in the stalagmites and stalactites of 
the cave, showing that it was once an active center of Mi- 
noan worship—not apparently of the great female nature 
divinity, but of her son and ultimate successor, the head 
of the later Greek religion. 


FIG. 24. STONE OBJECTS FROM KNOSSOS 


LaTE Minoan III (1350-1100 B.c.) 

The end of the great palace period was marked by a sud- 
den catastrophe. The palace of Knossos was destroyed 
and the island overrun by conquerors. Who these con- 
querors were there can be little doubt. All the evidence 
at our disposal points to an invasion from the Greek main- 
land, where the princes of the land had apparently been 
growing more and more powerful, and finally resolved to 
overthrow Cretan suzerainty. Their success was com- 
plete. The power of Crete was broken, never to revive 
again; there are indeed signs of a partial reoccupation of 
Knossos and other sites, but this appears to have been of 


40 FIRST ROOM 


little consequence. The scepter now passed to Greece, 
and the kings of Mycenae and Argos succeeded to the 
power of king Minos. 

The nationality of the conquerors is of course of great 
interest. As far as we can tell, they appear to have been 
descendants of the Minoans, who settled in and perhaps 
conquered Greece at the height of Cretan power, with 
an admixture of “Achaeans,’ who may have invaded 
southern Greece from the North, and of “ Pelasgians,” the 
original inhabitants of the land. ‘The Achaeans did not 
long remain the only northern newcomers in Greece, if 
such they were. The end of the Late Minoan III period is 
marked by constant migrations, unceasing warfare, expul- 
sions, and search for new homes. Not only did one tribe 
after another come down from the North into southern 
Greece, but the migration both of conquerors and con- 
quered extended from east to west, until the islands and 
the coast of Asia Minor were colonized with old Minoan 
and new Indo-European stock. The isles were restless, 
“disturbed among themselves,” is the comment of the 
Egyptian chroniclers of the situation. In Greek history 
these migrations are broadly referred to as the Aeolian 
(Achaean), the Ionian, and the Dorian invasions. 

It is this period, when Crete had fallen and the Greek 
princes had risen to power, that must be identified with the 
heroic age of Greece, pictured to us in the songs of Homer. 
For though these songs were written considerably later 
(probably in the ninth century B.c.), the events described 
clearly go back to earlier times; and the discrepancies in 
the Homeric poems which have given rise to so many dis- 
cussions must be traced to this circumstance. Under 
the unsettled conditions of this age the arts could no longer 
flourish. We are not surprised to find everywhere a de- 
cline in artistic perceptions. The general style of the 


Pree oe ie) Co. GREEK PERIOD | 


preceding period was retained, but it had no longer any 
life. That the productions were as good even as they are 
is due rather to the greatness of the preceding epoch than 
to the merit of the artists of the time. Only in architec- 
ture there seem to have been still great achievements; at 
least, recent evidence 
suggests that some of the 
most important buildings 
in Mycenae and Tiryns 
belong to this period— 
viz., the Lion Gate, the 
Cyclopean Walls, the 
“Treasury of Atreus.”’ 
The best examples of 
fresco painting of this 
period are those discov- 
ered at Tiryns. They 
formed part of the later 
palace which succeeded 
that from which the or- 
namental friezes de- 
scribed on p. 33 were de- 
rived. The paintings are 
in a very fragmentary 
condition, but several 
scenes have been success- 
fully pieced together. 
Among these the most remarkable is an almost life-size fig- 
ure of a woman carrying a casket with both hands. The 
copy here shown (west wall, No. 4; fig. 25) is a reconstruc- 
tion made from a number of fragments belonging to a series 
of similar figures. The subject, the style, and the bearing 
of the figure are clearly derived from Knossian prototypes, 
and the dress, with its tight-fitting jacket, open front, 


FIG. 25. WOMAN CARRYING A 
CASKET. FRESCO FROM TIRYNS 


Wall- 
Paintings 


Pottery 


42 FIRST ROOM 


and flounced skirt, is closely parallel to that worn, for 
instance, by the attendant of the famous snake goddess. 
Only the arrangement of the hair has no analogies in 
Cretan art. 

A large hunting-scene, found during the same excava- 
tions, is one of the most picturesque compositions pre- 
served to us from Minoan times. In it hounds attacking 
boars, young huntsmen with spears, hounds held in leash 
by servants, and chariots containing the guests of the hunt 
are vividly portrayed. The original painting appears to 
have been of considerable length, the same incidents being 
reproduced almost identically several times. The copies 
in our collection (west wall, Nos. 3, 6, 7, 8) show a boar 
running at full speed, pursued by a pack of hounds (fig. 
26), two huntsmen with spears and hounds, and two 
ladies! driving to the hunt through the woods. It should 
be observed that the costumes are characteristic of the 
Greek mainland and are different from those of Crete. 

The fresco representing a bull-grappling scene belongs to 
this same series, though found by Schliemann before the 
recent excavations (west wall, No. 2). In composition, 
execution, and even in costume, this is clearly a copy of 
Cretan prototypes. 

A comparison between these frescoes and those of the 
Late Minoan | and II periods shows a deterioration of 
style. This, however, is not nearly so marked as that 
observable on the pottery of the period, which shows a 
great poverty of invention. ~The same motives were re- 
peated again and again, becoming more and more conven- 
tional and stereotyped, while the shapes also show little 


1It has been suggested that, though the skin of these two figures is 
painted white, they are not women but princes who have led the sheltered 
life, on the analogy of Egyptian convention (see H. R. Hall, Aegean 
Archaeology, p. 190). 


Pope pies ieO' Rol. ey PER 1 OD 43 


variety. Our collection includes a number of original 
examples from widely different sites, such as Crete, Rhodes, 
Cyprus, and Mycenae (Cases F, S, and T); for this de- 
cadent style was diffused over the whole Aegean world. 
Though the decoration is for the most part uninteresting 
and lifeless, it should be noted that technically these vases 
stand very high. The forms are finely worked, the clay is 
well sifted and hard, the glaze beautifully lustrous. 

On Pedestal L in the Annex is a reproduction of the 
famous “Warrior Vase’ 
found by Schliemann 
in Mycenae in 1876. It is 
of anentirely different char- 
acter from the other vases, 
and represents the latest 
stage of Minoan pottery as 
evolved on theGreek main- - 
land. Instead of the usual 

BOAR 

sea and vegetable motives, PREC PROMS HIRING 
human figures are used for 
decoration. On one side are depicted six warriors set- 
ting out for battle, with a woman looking after them in 
an attitude of lamentation. On the other side are five 
warriors advancing with spears ready for the throw. 
Artistically these figures are on a low level; but the intro- 
duction of human subjects on pottery was an important 
innovation, which was to have a long subsequent history 
in Greek ceramics. 

In Case B are reproductions of several miscellaneous 
pieces of interest. A bronze mirror from the tomb of 
Klytemnestra at Mycenae is important in that it shows 
the pre-classical form, obviously influenced by Egypt. 
A noteworthy piece of late modeling is a stone head from 
Mycenae. 


FIG. 26. HOUNDS ATTACKING A 


Cases 
| Cb. 


Pedestal L 


Annex 


Miscella- 
neous 


Case B 


Seal- 


stones 
Case N 


44 FIRST ROOM 


The sealstones (Case N) continue the styles of the Late 
Minoan | and II periods, but here too we see a decided 
deterioration. The highly naturalistic style is mechani- 
cally reproduced without any lifelike quality. 

Before passing to the next section it may be well to sum 
up in a few words the characteristics of Minoan art as a 
whole, and to compare it with the two other arts with 
which we inevitably connect it in our minds—contempo- 
rary Egyptian and classical Greek. What strikes us per- 
haps most after examining the gaily colored frescoes, the 
magnificent vases, the gold and silver cups, the delicate 
sealings and beautifully wrought rings described in this 
chapter, is the exuberance of spirit shown in all these 
decorations. There is a restlessness, a joy of life, a con- 
tinual reaching out toward new problems which are the 
manifestations of a quick and agile mind. This becomes 
specially noticeable when we compare Minoan products 
with those of Egypt. That Crete owed much to Egypt 
there can be no doubt. She received from her the impulse 
for many of her arts, conspicuously those of fresco paint- 
ing, faience, and the fashioning of stone vases. Many of 
her conventions in painting, a number of her ornamental 
designs were clearly borrowed from Egyptian prototypes. 
The close intercourse between the two is further shown by 
the intimate connection between the naturalistic style of 
the Late Minoan period and that of Tell el-Amarna of 
the XVIII dynasty, though here Egypt rather than Crete 
was probably the debtor. Nevertheless, the difference is 
unmistakable. While Egyptian art impresses us with a 
feeling of formality, with a sense of quiet and balance— 
which is rarely absent even in its most naturalistic and 


delicate products—Cretan art is full of impetuous moye- 


ment and animation. 
If we compare the Minoans with the classical Greeks, we 


Pitot mh CO GREEK PERTOD 45 


also find a marked difference. Both have indeed the buoy- 
ancy of spirit which differentiates them from their Orien- 
tal neighbors; but their ideals and methods of work were 
entirely different. [he Greek artist arrived at perfection 
by adopting a number of types and solving one by one the 
problems presented by these. The Minoan artist was 
incapable of such concentration. He was so eager to 
fashion what his versatile imagination suggested to him 
that he cared less for accurate rendering than for con- 
stantly attempting new subjects. The result was that he 
never arrived at perfection, but in his works are a fresh- 
ness and a vitality that have rarely been equaled in any 
- subsequent art. 


SECOND ROOM 
EARLY GREEK PER 


GEOMETRIC PERIOD 
ABOUT I 100-700 B.C. 


WITH the end of the Minoan Age we begin a new 
era in Greek history. The old Minoan stock had grad- 
ually become submerged by the Indo-European invaders 
from the North, and a new race of mixed blood, combin- 
ing the old and the new, was being formed. The North- 
ern invaders, though less civilized than the people they 
conquered, contributed in no small degree to the future 
culture of Greece. They brought with them a new re- 
ligion, a new language, and, after a while, the use of iron. 
And more important still, they instilled an energizing 
force into a civilization which was practically worn out. 
But these things alone, we may safely assert, would never 
have produced the phenomenon of the Hellenic civiliza- 
tion, as we shall see it in the sixth to fourth centuries B.c. 
This would not have been possible unless these North- 
erners had amalgamated with a highly civilized race, 
whose art instinct remained as a dominant factor in the 
newly formed Hellenic people. 

The period which we have now under consideration is 


Pager tr RoE EK PERIOD AT 


often referred to as the dark ages of Greece. Compared 
with the splendor of the past and of the future, the cen- 
turies between 1100 and 700 B.c. certainly represent an 
epoch of eclipse. We know little of their history, and the 
finds have been comparatively scanty. But inasmuch as 
this is the time of Greece in the making, it deserves our 
serious attention. 

The outstanding features in the history of this epoch 
are the formation of a number of city-states, and the foun- 
dation by these states of colonies not only all over the 
Aegean, but far into the West, North, and South. These 
two facts determined the whole future history of Greece. 
Greece was never one country, as we understand the word, 
but rather a group of separate city-states, each with in- 
tense local patriotism, but with little feeling for the nation 
as a whole. National feeling was indeed fostered by the 
possession of a common language and religion, and by the 
institution of common oracles and athletic games, but it 
was never strong or spontaneous, and could not be de- 
pended upon in a crisis; while loyalty to his city-state was 
one of the guiding principles in the life of every Greek. 
This division and this unity are reflected in Greek art. 
There are certain common characteristics which Greek 
monuments share, whether produced in. Athens or Sparta 
or Miletos or Syracuse; but there are also marked differ- 
ences, due to the establishment of separate local schools. 

Even at this early period; when art was at a low ebb 
and had not yet attained its individuality, this combina- 
tion of uniformity and diversity was already apparent. 
The Late Minoan or Mycenaean style of pottery was 
everywhere followed by the geometric, in which the de- 
signs consist of systematized geometric patterns; but ac- 
cording to the locality in which the vases are found they 
differ both in technique and ornamentation. In Crete, 


Pottery 


48 SECOND ROOM 


naturally, the Aegean elements lingered longest. The 
style reached its highest development in Attica, and it is 
from this region that most of the examples in our collection 
are derived. 

These consist of a number of specimens of average size 
(Cases G and N) and two colossal vases of the type used 
as grave monuments (Cases H and M;; figs. 27 and 28). 
The latter are remarkable feats in the art of pottery and 
presuppose extensive experience; for to throw pieces of such 
size on the wheel, even in sections, and to fire them suc- 
cessfully can have been no easy task. The technique of 
these geometric vases is similar to that of Minoan times, 
the decorations being executed in lustrous brown glaze 
on the light clay; but the style of the ornamentation pre- 
sents a marked contrast. Instead of the free, curvilinear 
designs of the Minoans, we have a series of geometric mo- 
tives used over and over again in different combinations; 
and instead of the naturalistic representations of plant and 
marine life, we often have figured scenes, in which the men 
and animals are treated with a view more to systematizing 
them into ornaments than to representing them as they 
are in nature (see, e.g., head-band, p. 46). The most 
interesting of these scenes appear on the two colossal 
amphorae. On each of these is depicted a funeral with the 
deceased laid out on a bier, surrounded by his wife and 
children and mourning women tearing their hair. War- 
riors on foot and mounted on chariots, often carrying large 
shields, form the subject of other friezes of these vases, as 
also on several smaller amphorae. 

The representations on these pots are very crude. 
There is no attempt to study the human figure as it is, or 
to solve the problems presented by bodies in motion. 
There is no knowledge of perspective and this leads to 
surprising results; for the artist, even when representing his 


sorrguyees 


ee 


mene 


FIG. 27. COLOSSAL FUNERARY VASE 


50 SECOND ROOM 


figures in profile, is naively anxious to depict what he could 
not really see. All the legs of teams of horses are con- 
scientiously drawn side by side, and their heads one below 
the other; the wheels of chariots both appear on the same 
side; the farther leg of a human being is drawn above the 
nearer, so that it seems to grow out of the waist; and so on. 
But we must not judge these pictures by later standards. 
We must remember that the artist was attempting some- 
thing entirely new to his experience, and that, with the 
timidity of a beginner, he preferred to keep to certain fixed 
conventions; also that his chief instinct was as yet decora- 
tive and that he naturally treated his human figures much 
as he did his other ornaments, that is, he “geometrized”’ 
them into a fixed scheme. The absorbing interest of these 
pictures to us is that they stand at the head of a long line 
of representations in Greek ceramic art. We shall see how, 
during the next periods, the Greek artist solved all the 
problems which were too much for the maker of our 
vases; and he accomplished this for the first time in the 
history of art. 

The decorative patterns which are used on the geomet- 
ric vases in our collection show the stock in trade used by 
the potter of the period. They consist of rows of meander, 
zigzag lines, shaded triangles, chequers, lozenges, wavy 
lines, tangent circles, wheel ornaments, etc. Some of these 
ornaments have a long history, being derived from Minoan 
prototypes; others were introduced by the geometric 
potter and have in their turn a subsequent history, form- 
ing part of the heritage taken up by the vase-painters of 
the classical period. 

In addition to these geometric or Dipylon vases (as they 
are sometimes called, since many have been found in the 
Dipylon cemetery of Athens), Cases G and N contain 
several specimens from other localities, chiefly from Cyprus. 


Peano soma BoE Ke PyEeR TOD 51 


Though the principle of geometric ornamentation is the 
same, certain local peculiarities are apparent. 

With regard to the dating of the geometric ware, we have 
only the evidence that they are found after the latest 
Minoan ware and before the styles which make their ap- 
pearance in the seventh 
century B.c. The twomag- 
nificent amphorae, with 
their elaborate figured 
scenes, evidently form the 
climax of the geometric 
style, and may therefore 
_ be dated toward the end 
of it, that is, in the eighth 
century B.C. 


This epoch produced no 
monumental architecture 
or sculpture. The primi- 
tive artists of the period 
confined their work to FIG. 28. COLOSSAL FUNERARY 
more modest fields. Be- VASE 
sides pottery, only small 
bronze or terracotta statuettes, some decorative work in 
bronze, and engraved seals of soft stone have been found. 
A remarkable statuette included in our collection, a gift 
from J. Pierpont Morgan, shows what could be done in the 
line of fashioning figures in the round (Case B). It repre- 
sents a group of a centaur and a man (fig. 29). The 
proportions and general style of the figures are the same 
as those on the Dipylon vases, and we may safely date it as 
contemporary with them. Similar statuettes have been 
found at Olympia (see Furtwangler, Olympia, Die Bronzen, 
pls. XIII, XIV); some with bases decorated, like Mr, 


Bronzes 


Case B 


CasesA,K 


Case E 


52 SECOND ROOM 


Morgan’s example, with openwork and engraved decora- 
tion on the under side. This suggests the possibility that 
such statuettes were hung up as votive offerings with the 
under side showing. Another example of this primitive 
style is the statuette of a horse with slim body, funnel 
mouth, and long tail reaching to an openwork base. 

A few bronze and terracotta statuettes of this 
period, of considerably rougher execution, are shown in 
Cases A and K;also several rare pieces 
of early Italic armor. The latter 
consist of two cuirasses (one, lent by 
Bashford Dean, is considerably re- 
stored), a helmet (fig. 30), and several 
disks. The helmet and cuirasses are 
elaborately ornamented with em- 
bossed designs; one of the disks, with 
perforations of various shapes, was 
probably part of a leather breast- 


FIG. 290. BRONZE 
GROUP. ACENTAUR _ Plate; while theothers, decorated with 


AND A MAN embossed patterns, appear to have 
served as shield bosses. All the 


decorations are still of purely geometric character. 

In Case E are a number of Italic fibulae or safety-pins 
of various types. Such safety-pins became exceedingly 
popular in the Late Bronze and Early Iron Ages, when 
they were employed, instead of buttons, for fastening 
dresses. Some types, like the fiddle-bow and semicircular, 
belong exclusively to the Bronze Age. Others, such as the 
boat-shaped and serpentine, began in the Bronze or Early 
Iron Ages, but continued down to the fifth and even the 
fourth century B.c. The earlier examples have a short 
foot which gradually becomes elongated and is then pro- 
vided with a knob at the end. The bows are often strung 
with beads of amber. The fact that these fibulae can be 


Pager 6G REE K PERRIOD 53 


more or less accurately dated makes them valuable chrono- 
logical evidence for the objects found with them in the 
tombs. Both the earlier and later specimens have been 
placed together here to show the development of the types. 
Glass beads! have been a popular product from early 
Egyptian to modern times. A selection ranging in date 
from about 1000 to 600 B.c. 1s exhibited in the same case 
with the fibulae. They are of various types, the common- 
est being the plain and the 
“eyed” varieties. Inthelatter 
circles of yellow, blue, and 
white glass are inserted in the 
beads by a method similar to 
that of the threads in the glass 
vases (Third Room, Case Z; 
see p. 99). Some of the beads 
have patterns arranged in 
spiral or zigzag lines instead 
of in circles. The majority of fic. 30. BRONZE anim er 
the pieces here shown form ITALIC 
part of the Gréau Collection 
of ancient glass, which was given by J. Pierpont Morgan. 


PERIOD OF ‘ORIENTALIZING. INFLUENCE 
700-550 B.C. 

In the seventh century B.c. a great change came over 
Greek art. The geometric style was supplanted every- 
where by new conceptions, in which Oriental influence 
played an important part. This change came as a natural 
consequence of the conditions of the time. Greek navi- 
gation and commerce had received a fresh impetus by the 
formation of Greek colonies in near and distant parts, and 


1The classification of glass beads given here and in the later sections 
is that of Dr. G. Eisen, 


Glass 
Beads 


54 SECOND ROOM 


thereby the wealth of the cities had considerably increased. 
The Greeks had not only grown accustomed to seeing 
Oriental goods brought to them by Phoenician traders, but 
the colonists who had settled on the coasts of Asia Minor 
naturally felt the contact of their Oriental neighbors. 
Moreover, the monotony and conventionalism of the geo- 
metric style had begun to pall on a people gradually awak- 
ening to new ideas and energies; so that the time was ripe 
for the inroads of Eastern civilization. It would not have 
been surprising under these circumstances if Greek art had 
definitely assumed and retained an Oriental character. 
That it did not shows the vitality of the Greek artistic 
genius at the time even of its infancy. Instead of adopt- 
ing Oriental art wholesale, the Greek artist merely selected 
certain ideas and motives and with their help and under 
their stimulus produced creations of his own. 

The seventh and early sixth centuries, then, are a period 
of general awakening in the Hellenic world. They mark 
the beginning of many cardinal elements of Greek civili- 
zation. Coinage was introduced from Lydia and revolu- 
tionized industrial life. Monumental architecture and 
monumental sculpture now made their appearance. The 
Olympian games had indeed been instituted in the pre- 
ceding century, but the Isthmian, Pythian, and Nemean 
games, the other great Panhellenic festivals that played 
such an important part in Greek life, were all established 
in the early part of the sixth century. The alphabet had 
been introduced by the Phoenicians in thé eighth century, 
and by the seventh the art of writing was in general use. 

In examining the products of the seventh and early sixth 
centuries B.c., we again notice a generally uniform style, 
almost endlessly diversified, however, according to the lo- 
calities in which they were produced. 

The monumental sculpture of this period can be studied 


EARLY GREEK PERIOD 55 


in the Cypriote statues of the Cesnola Collection, Nos. 
1001 ff. The pottery, bronze, and terracotta work dis- 
played in this room will give us a good general idea of the 
tendencies of the time. 

The spirit of the new age is clearly reflected in 
the vases of the period. Instead of the precise, uniform, 
geometric pots we find a profusion of 
new forms, new styles, and new 
techniques. Even if no historical 


Fi, 414 CORINTHIAN POTTERY 


records were left, the sudden appearance of these many, 
different, highly decorative wares would show us that 
something was afoot in the Greek world. ‘The ware best 
represented in our collection is the Corinthian (Cases D 
and L; fig. 31). The Oriental element is here especially 
pronounced, a fact due probably to an early Phoenician 
settlement in this region. Not only are such animals as 
lions and panthers, which are not native in Greece, depicted 
with great frequency, but fantastic creatures, such as 
winged monsters, sphinxes, sirens, clearly of Eastern origin, 
are very popular. These are arranged in friezes after the 
pattern of Assyrianart. The lotos-ornament and the pal- 
mette, the two chief floral decorations of Corinthian vases, 
are also borrowed directly from the Orient. But besides 


Vases— 
Corin- 
thian 


Cases D, L 


56 SECOND ROOM 


these Eastern elements there are others which are distinctly 
Greek. Here and there, though not as yet very com- 
monly, we find introduced warriors marching with their 
shields, riders on horseback, or other human figures, and also 
stories of Greek mythology—an entirely new departure, 
destined to play an important part in Greek ceramic art. 
It was, of course, a natural procedure. The imagination 
of the Greeks had for some time been busy producing these 
legends, which meant to them much more than mere fairy 
stories; they were in a sense their history, their religion, 
and their genealogy. The scenes included among our 
vases are a representation of Odysseus and his compan- 
ions blinding Polyphemos, Herakles pursuing Nessos, 
and satyrs dancing. A poet on his death-bed (for that is 
apparently the subject represented on a plate) is also a 
remarkable representation. The background of these 
scenes is filled with decorative ornaments which have 
nothing to do with the subjects represented, but are due 
to an aversion to empty spaces on the part of the artist. 
This horror vacui, as it is technically called, is, of course, 
a direct inheritance of the geometric age, and is a character- 
istic of practically all seventh-century wares. 

The paintings on Corinthian pottery are executed in 
dark paint on the light clay of the vases with frequent 
addition of red. Incised lines are used to indicate folds, 
muscles, or other details. The majority of the vases are 
small, the aryballos and alabastron being especially popu- 
lar shapes; but larger pieces, such as amphorae, kraters, 
water-jars, and plates, also occur. 

That the city of Corinth was the great center for the 
manufacture of this pottery is shown by the large quantity 
of vases of this style found in that city, and by the inscrip- 
tions in the Corinthian alphabet which sometimes occur 
on them. Moreover, the seventh century, during which 


Peake ts REE K PERIOD Br] 


this pottery was produced in such great numbers, is coin- 
cident with the rule of the great tyrants of Corinth, under 
whom the city attained her commercial supremacy. 

The popularity of this Corinthian pottery can be seen 

by its wide distribution. It has been found in Greece, 
Italy, the Greek Islands, Asia Minor, Egypt, and the 
Crimea. It was also occasionally imitated, especially in 
Italy, where an inferior, so-called Italo-Corinthian ware 
was produced. Several examples 
of this will be found in Case A. 
In the first half of the sixth century 
the style underwent important 
changes. The meaningless ground 
ornaments were dropped, and the 
subjects show more continuity. 
Moreover, the clay was burnt toa 
rather deeper red and the black 
glaze was greatly improved. This 
marks the beginning of the so- 
called black-figured style, which FIG. 32. ‘PROTO- 
was taken up in many localities CORINTHIAN” 
and received its greatest develop- Sueno eee” 
ment in Athens (see next chapter, 
p. 85). Three good examples of Corinthian pottery of 
this period are included in our collection—an oinochoé, 
a fragment of a large krater with warriors fighting (Case L), 
and a hydria with Herakles and the Nemean lion (Case D). 
The last has inscriptions in the Corinthian alphabet. 

An attractive early Greek ware, provisionally called 
Proto-Corinthian, consists principally of small lekythoi 
decorated in the earlier stages with linear motives, 
later with Oriental and archaic Greek designs. There are 
several examples of the earlier geometric period in our 
collection as well as one of the later class (fig. 32) dating 


Vases— 
““Proto- 
Corin- 
thian”’ 


Case D 


Vases— 
Plastic 


Vases— 
Athenian 


Case F 


58 SECOND ROOM 


from the seventh or early sixth century B.c. (Case D). 
The latter is a gift of Edward Robinson. On its little 
pear-shaped body, not more than 25 inches high, it is 
decorated with four separate bands, three consisting of 
ornamental motives, one of warriors and sphinxes. The 
paintings are executed in brown color on the light buff 
clay with incised details. 

With Proto-Corinthian and other seventh- to sixth- 
century wares are sometimes found plastic vases in a 
ereat variety of forms, both animal and human. They | 
are mostly small in size and often have holes for suspension, 
suggesting that they served the same purpose as alabastar 
and aryballoi, namely, as little ointment or oil bottles. 
Two examples in our collection are in the form of a rabbit 
and a squatting man (Case D). They are covered with 
dots—a characteristic ornamentation—and the squatting 
man has also rosettes and various little animals delicately 
painted on his back and his legs and arms. 

The Athenian pottery of this period is represented in our 
collection by a number of examples. One is a magnifi- 
cent amphora (fig. 33), dating from the first part of the 
seventh century B.c., of a style often referred to as Proto- 
Attic (Case F). It is decorated with various ornamental 
designs and with three figured scenes on its front side: a 
lion devouring a deer, two grazing animals, and the con- 
test of Herakles and the centaur Nessos. In the last 
scene, which occupies a large part of the body of the vase, 
there are introduced, besides Herakles and Nessos, a four- 
horse chariot with a woman, probably Deianeira, sitting 
in it, and a man running at full speed, perhaps a spectator. 
A comparison between these scenes and those on the 
geometric ware is very instructive. In spite of its crudity 
and the almost childish idea of perspective (notice espe- 
cially the way in which the heads of the four horses are 


Peer GREEK PERTOD eS 


painted one below the other), there are a force and a vital- 
ity not to be found in the Dipylon representations. The 
determined attack of Herakles and the beseeching attitude 
of the centaur are convincing and are well contrasted 
with the quiet figure 
seated in the chariot. 
The scene of the lion and 
the deer on the neck of 
the vase is also full of 
spirit, the deer being es- 
pecially lifelike in attitude 
andwrendering Ait is 
‘noteworthy that Oriental 
influence is not nearly so 
apparent in this vase as 
on the Corinthian ware; 
but on the other hand, 
there are interesting rem- 
nants both of Minoan and 
of geometric art, which 
show the manifold sources 
of the artist’s inspiration. 
A small oinochoé with 
cone-shaped body and 
high cylindrical neck 


FIG. 33. ““PROTO-ATTIC 
(which has been restored) AMPHORA. COMBAT OF 
is another excellent ex- HERAKLES AND NESSOS 


ample of Proto-Attic 
ware (Case J; fig. 36). The representation again shows Case J 
ereat animation. A dog is running at full speed after 
two horses, evidently rounding them up, while a large 
bird is getting out of the way. The field is strewn with 
ornaments. . 

The third Athenian vase of this period is a small jug of 


Case O 


Case B 


Vases— 
Laconian 


Case J 


60 SECOND ROOM 


the “ Phaleron”’ class (Case J; fig. 35), so called because the 
majority of the pieces of this type were found in that 
locality. It is clearly developed from the Attic geometric 
ware, retaining the old technique but showing an admix- 
ture of Oriental elements in the decoration. 

A large amphora decorated with the head of a horse on 
either side is an early Attic piece of the first half of the 
sixth century (Case Q). The heads occupy panels and are 
painted in black (with overlaid purple and details incised) 


FIG. 34. “‘LACONIAN”’ KYLIX 


on the buff clay. There are similar vases of approximately 
the same dimensions in Athens and in Munich, and since 
one of them was found with bones inside, it is assumed that 
they all served such a purpose. Two amphorae with 
horsemen, cocks, and sirens are Athenian specimens of the 
first half of the sixth century (Case B). This ware is 
sometimes referred to as Tyrrhenian. 

A “Laconian”’ kylix is a good example of this important 
fabric (Case J; fig. 34), which was formerly called Cyrenaic 
but has more recently been attributed to Sparta, since 
excavations have shown that it was produced there in con- 
tinuous chronological sequence (see the potsherds in a 
drawer of Case B). According to the classification worked 
out by the excavators our new kylix belongs to the La- 
conian IV period (550-500 B.c.) after the climax of the 


Peieiy “GREEK “PERIOD 61 


style was reached and the first signs of degeneration ap- 
pear; for it is heavier than most good Laconian pottery 
and its lotos and palmette designs, 
though highly decorative, are rather 
coarsely executed. 


A handso~e Boeotian goblet is Vases— 
Vie é Boeotian 
exhibited in the same case (fig. 39). ne 


It has a deep bowl on a high foot 
with four horizontal handles, and is 
decorated in bold style with large in- 
verted palmettes between herringbone 
ornaments, in black, purple, and bright 
red on the buff clay. It belongs toa 
late phase of Boeotian ware of the 
second half of the sixth century, the FIG. 35. 

Style evi- ‘“PHALERON” JUG 

dently per- 

sisting for a long time. 

A highly decorative class of Vases— 
pottery belonging to this epoch eu 
is the “Rhodian.” Again the 
name is only provisional, for its 
origin has not yet been estab- 
lished, though it is clearly Ionic 
rather than Western. Our col- 
lection includes a number of 
examples (Case J; fig. 37) deco- Case J 
rated with beautiful ornamental 
motives (fig. 38) as well as with 
animals (ibexes, deer, and water 

FIG. 36. “PROTO-ATTIC” birds). The animals are not 

oC ae treated in the conventionalized 

manner in which they appear in the geometric period or even 
in the contemporary Corinthian ware, but they are full of life 


Vases— 
lonic 


Cases J, K 


62 SECOND ROOM 


and evidently copied from nature, both the postures and the 
essential features of each animal being accurately rendered. 
The same troops of wild goats, deer, and wild birds can 
still be seen in Asia Minor today. The technique of these 
Rhodian pots is that prevalent in the lonic or Eastern 
group of seventh-century vases, that is, the decorations 
are painted in a dark brown glaze ona creamy slip without 
incisions. The figures are 
painted partly in silhouette, 
partly in outline; and dark red 
is used here and there as an 
accessory color. 

A number of vases, some 
astonishingly fresh in preser- 
vation, belong to a ware iden- 
tified vaguely as “Ionic” 
(Cases. ], “K)age tO yaaa oes 
found in many localities both 
in Greece and Italy, but the 
center of its manufacture is 
not yet known. Three of our 
examples are said to have come 
from Tarentum, two are from 
Cyprus. The decoration consists merely of horizontal 
bands and wavy lines, with here and there an additional 
touch, suchas a three-leaf ornament, all painted in brownish 
black on the pale buff clay. Two pieces of an unknown 
fabric are shown in Case K. One is an amphora with a 
representation of fighting warriors, the other an oinochoé 
with Herakles and the Nemean lion. The creamy back- 
ground and the intense, forceful action of the figures 
make an Ionian origin probable. Fragments of Ionian 
pottery from Naukratis (a gift of E. R. Price) are in the 
drawers of Case B. 


FIG. 37. ““RHODIAN”” 
JUG 


EARLY GREEK PERIOD 63 


Besides these Greek vases, a collection of Etruscan pot- Vases— 


tery is exhibited in this room (Cases O, P, R-T). 


origin of the Etruscans still 
remains one of the unsolved. 
problems of archaeology. 
According to Herodotos 
they came from Lydia (see 
p. 324); according to other 


theories they were autoch- 


thonous or came from cen- 
tral Europe across the Alps. 
But whatever their original 
home, we know that by the 
ninth century B.c. they 
were settled in the north of 


Italy and gradually became a powerful nation. 


The 


FIG. 38. 
““RHODIAN”” PLATE 


The im- 


portant place which is assigned to them in classical 
collections is due not to their own artistic originality, but 


FIG. 30. 
BOEOTIAN GOBLET 


to the fact that they, 
more than any other 
early Italian people, ap- 
preciated the beauty and 
significance of Greek art 
and made it their own 
by extensive importation 
and imitation. We shall 
see in the next section 
how closely allied the 
Greek and Etruscan 
styles became in the ar- 
chaic. period. In this 


early epoch, when Greek art itself was still in its infancy 
and looked to outside influences for stimulus, the depend- 
ence of Etruria on Greece was naturally not so close. 


Etruscan 


Cases O, 
Pak 7: 


64 SECOND ROOM 


But even then Corinthian and lJonian pottery were im- 
ported in large quantities. There was also, however, a 
flourishing output of native pottery, which, though imita- 
tive in shapes and decoration, was quite original in its tech- 
nique. The two varieties represented in our collection are 
a red polished ware and the black “bucchero”’ ware, the 
Etruscan pottery par excellence. The red ware is found 
mostly in tombs of the seventh cen- 
tury B.c., and is either plain or 
decorated with incised, stamped, or 
openwork ornaments. Among our 
examples the most important are 
two plates with stamped friezes 
(south wall and Case O), four large 
cauldron-stands, one with incised 
decorations, and a “Canopic”’ jar, 
with a cover in the shape of a 
primitive head, intended for keeping 
the ashes of the deceased (Case QO). 
FIG. 40. The black “bucchero’? ware— 
BTRUSCAN | BUCCHERO made of a blackish 1 1a7aee Raeaan 
TOY JUG Satan ; 
probably by fumigation in a closed 
furnace—is well represented in our collection (see fig. 41). 
The earliest examples (Case P) are hand-made and are 
generally small vases of primitive forms and heavy clay, 
the decorations engraved with a toothed wheel or a sharp 
tool. Thewheel-made variety (Cases R-T) shows a gradual 
development in shapes and ornamentation and a better 
quality of black clay. At first the vases are plain or 
‘decorated only with horizontal lines, while the forms are 
clumsy. Gradually the latter show Greek influence, and a 
relief decoration is introduced. These reliefs, consisting of 
animals, monsters, human figures, and masks, show in their 
style the influence of Egypt and Mesopotamia, as well as 


EARLY GREEK PERIOD 65 


of Greece. Both pottery and bronze work appear to have 
served as models. A separate class is formed by a series 
of vases decorated with small flat reliefs, probably stamped 
by means of a wheel or cylinder (Case T). The same 
design is repeated several times around the vase. A few 
examples with incised decorations will be found in Case P. 
Besides the regular shapes of amphorae, jugs, bowls, and 
cups, a number of tray-like objects have been found, 


FIG. 41. ETRUSCAN BUCCHERO VASES 


usually called braziers, or focolari (Case T). These were 
probably used in Etruscan funeral rites. The small 
articles found in them, such as spoons and bowls, suggest 
that they had to do with eating; and it is probable that 
either the banquet of the deceased was served in them or 
that they were used at ceremonies in memory of the dead. 
A highly interesting piece in bucchero technique has been 
placed in Case B. It is a little jug in the form of a cock, 
evidently intended as a child’s toy (fig. 40). On its body 
is incised an early Chalcidian alphabet, so identified by 
the forms of the y and the \. Such primitive abecedaria, 
of which a few other examples are known, help to establish 
the order of the letters in the early alphabet. The sib- 
ilants E&) and M are preserved in their proper sequence, 


Bronzes 
Case D 


Cases B,K 


66 SECOND. ROOM 


having been taken over from the “ Phoenician’’ mother al- 
phabet, though there was no actual use for them in the 
Greek language; and the letters F and ? which had fallen 
into disuse were also retained to reappear much later as 
numerals. The o is repeated before the @ by mistake for 
Bares 

This black bucchero ware is found in the Etruscan 
chamber tombs from the seventh to the early fifth century 
B.c., side by side with the imported Greek fabrics. Thougi 
inferior to the latter in the interest of its decorations, it 
nevertheless has a strong decorative quality; and the fine 
sturdy shapes and the rich, black coloring make a direct 
appeal to our modern taste. 

The bronzes and terracottas of the period show the same 
stylistic character observed in the vases. A bronze kylix, 
or cup, is decorated with engraved designs similar to those 
which occur on Corinthian vases of the seventh century, 
and has been placed with them (in Case D) for comparison. 
The ornamentation consists of a frieze of animals with a 
border of lotos buds beneath. The animals are mostly 
of the monstrous shapes borrowed from Eastern art—a 
winged goat, a lion, a panther, a winged panther, a winged 
lion with the head of a bearded man, and a eriffin. The 
background is filled with ornaments. These designs are 
first sketched with a sharp instrument and are then gone 
over with another instrument, producing instead of a 
continuous line a series of hatched lines. 

The other bronzes are exhibited in Cases B and K. 
An ornament worked in 4 jour relief represents two lions 
heraldically grouped on each side of a lotos flower. A 
handle of a large vase decorated with sphinxes and reclin- 
ing figures, and a plate ornamented with a frieze of winged 
monsters are Etruscan rather than Greek in style, and date 
from the seventh or early sixth century B.c. Three hel- 


EARLY GREEK PERIOD 07 


mets are of early “Corinthian” type, made of fairly thin 
bronze, of equal thickness throughout, and with small holes 
- around the edge for the attachment of the leather lining. 
They are said to be from Olympia, and can be dated to 
about the seventh century B.c. The numerous dents and 
signs of wear show that they were made for use and were 
worn during actual fighting. 

A terracotta head from Thebes is of a primitive type and 
dates probably from the seventh century B.c. (Case B). 
It is about three-quarters life size, and wears a close- 
fitting cap and earrings of a double spiral type. All over 
the surface are extensive traces of color. A number of 
early terracotta statuettes and reliefs are in Case K. 
They are votive offerings from Praesos, Crete, lent by 
the American Institute of Archaeology. 

A series of lead votive offerings from the temple of 
Artemis Orthia at Sparta is an anonymous gift (Case C). 
They were stamped out of a sheet of metal and include the 
most varied subjects—figures of Artemis Orthia, Athena, 
warriors, fishermen, runners, flute players, as well as 
animals and miscellaneous objects. Such lead objects were 
found in great numbers and date from about 700 to350 B.c., 
for the sanctuary enjoyed a long popularity. Reproduc- 
tions of the famous ivories found in the same temple pre- 
cinct are shown in the drawers of Case B. 


Verra- 
cottas 


Cases B, K 


Lead 
Objects 


Case C 


nS Wixiweleeieees 


SSS iad Pos. 8 


THIRD ROOM 
ARCHAIC Pia 


SIXTH. CENTURY (Bag 


dete early political history of most Greek states was 
marked by the change first of monarchies into oligarchies, 
and then, when the rule of the nobles who had usurped the 
power became intolerable, of oligarchies into tyrannies. 
The origin of these “tyrannies”’ was thus in many cases 
the assumption of power by a liberator rather than an 
oppressor of the people; and since these “tyrants” were 
often strong and wise men, their rule was generally noted 
for a restoration of general order and an enlightened culti- 
vation of the arts. Thus Athens under the reign of Peisis- 
tratos, in the second half of the sixth century B.c., became 
a powerful state with a flourishing, far-reaching commerce. 
And the same may be said of a number of other states. 
The conditions, therefore, were favorable to the develop- 
ment of Greek art. 

The sixth century is accordingly a period of growth in 
every direction, though not yet one of final achievement. 
The artists were still battling with the manifold problems 
which confronted them; but, thanks to the efforts of their 
predecessors, they had passed the stage of primitive begin- 
nings, and had evolved certain standards which were to re- 


ARCHAIC PERIOD 69 


main decisive. In other words, Greek art was well headed 
on the way toward the accomplishment of its ideals, but a 
difficult road was still before it. It had learned from other 
nations all that they could teach, and was now confronted 
with questions which the others had never solved, but 
which the Greeks felt should and could be solved. It is 
the patient determination which they brought to their 
task, coupled, of course, with a great artistic genius and 
appreciation of beauty, which made Greek art what it 
finally became. Tous, this period of persistent struggle by 
highly gifted artists is one of peculiar interest and fascina- 
tion; for here we see worked out before our eyes the great 
problem of correct representation. To model and paint 
the human body and its drapery in full front, in profile, 
and from every angle; to represent it at rest and in motion; 
and to do this correctly in every detail was what the ar- 
chaic Greek artist regarded as a task which required 
solution. Nowadays we take these things for granted— 
but only because they were solved for us once for all in 
Greek art. These archaic products, however, are not only 
interesting historically as witnesses of early struggles. 
Owing to their decorative quality and quiet unity they 
have great artistic value; and by some are preferred to the 
later, more naturalistic products. It is certainly true 
that the naive charm they possess was lost in the later 
“correcter’’ accomplishments. 

In order to attain his ends the archaic Greek artist 
selected a few types and worked at these with wonderful 
concentration, improving steadily as he went on. This 
systematic procedure remained one of the chief character- 
istics of Greek art. Even as late as the fourth century 
B.c., when complete freedom of representation had long 
been attained, the same poses for various figures were 
used again and again, There are other questions which 


Bronzes 
Case O 


70 THIRD ROOM 


the archaic artist decided once for all for himself and his 
successors. The monstrous shapes of the East were defi- 
nitely discarded, or at least given a subsidiary place. The 
gods and heroes were represented in human form; and since 
they played an important part in the art of the period, this 
helped to concentrate the attention of the artist on the 
human body. In his representation he was strongly in- 
fluenced by the athletic ideal, which had been fostered in 
Greece by the great Panhellenic festivals. At these, citi- 
zens from every Greek state competed in athletic contests, 
and victory was regarded as one of the highest honors 
which could befall a human being. Consequently, great 
importance was given to the beauty and development of 
the human body; moreover, the artist had ample oppor- 
tunity to study it every day while the youths and men 
practised their various sports. It is natural, therefore, 
that he should select the athletic type for his representa- 
tions. It is observable both in the male and in the fe- 
male forms. The former is often represented completely 
nude, and is always muscular and vigorous. The latter 
is commonly draped, but of a slender and comparatively 
straight shape—very different from the former Minoan 
ideal. 

The Museum owns a number of first-rate pieces of ar- 
chaic sculpture. The larger marble pieces have been placed 
with the other sculptures in the Central Hall, and are de- 
scribed in the chapter dealing with that gallery (p. 230). 
But the smaller sculptural work in other materials has been 
assembled in this room. 

In the large center case, O, is exhibited the Etruscan 
bronze chariot from Monteleone (fig. 42). It is the most 
important ancient bronze chariot known, and constitutes 
one of the most notable examples of antique metalwork. 
It was made of wood with bronze sheathing and iron tires. 


LOINVHD AZNOUM NVOSNULA ‘7 “Old 


72 THIRD ROOM 


When found, it was in a very fragmentary condition; the 
wood foundation is entirely new, but no new pieces of 
bronze were inserted; the pole has not been constructed to 
its full length. 

The plates which form the sheathing of the chariot are 
of very thin bronze, and are richly ornamented with reliefs 
in repoussé work with incised details. The chief decora- 
tion is on the outer surface of the body of the chariot, and 
is divided into three panels with a band below, correspond- 
ing to the natural divisions made by the structure of the 
chariot. In the central panel a warrior is represented re- 
ceiving his armor from his wife before setting out for 
battle; on the left, a warrior is fighting and conquering his 
enemies; while on the right, a third warrior is driving a 
winged chariot. All three subjects are well known in 
archaic Greek art; some of the accessories—such as the 
fawn on the central panel, the recumbent female figure on 
the right, and the birds—are best explained as decorative 
motives introduced to fill the space, as we find them on 
the Greek vases of the period. For by the middle of the 
sixth century B.c. Etruscan art had become entirely de- 
pendent on Greek art. Not only were Greek products 
imported in great quantities, but the Etruscan artists set 
themselves to imitate closely the Greek style, the Greek 
technique, and the subjects of Greek mythology and life. 
But though the products of the two countries are thus 
closely related, it is seldom difficult to distinguish between 
the works of the originators and of the imitators. The 
figures on our chariot are all more or less conventional, 
without that lifelike animation and sense of structure 
which are characteristic of Greek work. We need only 
compare the feet of the various figures with those of the 
youth No. 1 in the Sculptural Hall to note the difference 
between Etruscan and Greek work in this respect. The 


FIG. 43. BRONZE MIRROR STAND 
FROM CYPRUS 


Case W 


Bronzes— 
Statuettes 


Case H 


74 ME REDS POO 


beauty and richness of the incised ornaments (see, e.g., 
tail-piece, p. 99) are only another argument for Etruscan 
workmanship, for it is just in such decorative work that 
the Etruscans are known to have excelled. 

A number of objects found in the tomb with the chariot 
have been placed in Case W. They are of a miscellaneous 
character, consisting of clay, bronze, and iron utensils, 
and are of great in- 
terest in showing the 
variety of articles 
placed in tombs with 
the deceased. Among 
them are two Athe- 
nian black-figured ky- 
likes, of a type dating 
from soon after the 
middle of the sixth 
century, which help 
to fix the date of the 


FIG. 44. BRONZE STATUETTE ; 
OF A CENTAUR chariot. 


Our collection 


comprises a number of exceptionally fine bronze statuettes 
belonging to this period. One of the most important is a 
nude dancing girl which once served as a mirror-support 
(Case H; fig. 43). She is represented standing on the back 
of a huge frog and playing upon a pair of cymbals. The 
modeling of the slender body and limbs shows a keen ap- 
preciation of the beauty of natural forms, and much un- 
derstanding in expressing the relation of muscle to bone. 
Though the statuette was found in Cyprus, it presumably 
did not originate there, since it shows no affinities with 
Cypriote art as-distinguished from the pure Greek art of 
the period. It is probably the product of a Peloponnesian 
school. 


meee YC t PE ROD Tie 


Other bronze statuettes of the sixth century are shown 
in Cases D, F, G, N, QO. Some of the best are assembled 
in Case F. They all show a highly decorative sense coupled 
with an awakened interest in the study of nature. A 
characteristic early specimen is the figure of a running 
youth, represented as kneeling on one knee, with his head 
and the upper part of his body in full front, while the 
legs, from the waist down, are in profile. A crouching 
archer, bequeathed by 
Richard B. Seager, 1s 
inasimilar pose. The 
nude standing male 
and female types are 
represented by several 
statuettes of which the 
most notable are a so- 
called Apollo grasping 
a round object in one 
hand, an Apollo wear- 
ing the chlamys in 
shawl fashion and 


FIG. 45. BRONZE STATUETTE 
OF A GOAT 


grasping a bow in one hand, and a nude female figure 


holding a lotos-bud. Another interesting piece is a youth 
of stocky build carrying a pig on his shoulders. A vigor- 
ous youth bent backward, admirably designed and 
modeled, once served as a handle. The statuette of a 
Zeus or Poseidon with right arm raised is a distinguished 
piece, unfortunately somewhat incrusted. The statuette 
of a centaur, given by J. Pierpont Morgan, shows how 
successful the archaic artist sometimes was in the portrayal 
of rapid motion (fig. 44). The centaur is represented in 
full gallop, swinging an object (which may be a branch or a 
club) in both hands, ready for the attack. The rendering 
of the features and of the hair are highly decorative and the 


Case F 


Case D 


76 THIRD ROOM 


body itself is modeled with masterly understanding of 
the essential. 

Two statuettes are interesting examples of early animal 
sculpture—a horse lent by Junius S. Morgan and a beauti- 
fully conventionalized goat represented leaping forward 
with head turned back (fig. 45). When the latter was 
acquired the details were obscured by incrustation. Its 
present appearance is due to its having been treated by 
the new process of electrolysis. 

A tripod base, perhaps of a 
candelabrum, is a fine example 
of Greek conventionalized or- 
nament. Each foot consists of 
an animal leg and terminates 
above in. a pair of wings and in 
the figure of a long-haired 
youth. It is interesting to note 
that the feet are not cast from 
the same mould, for in each 
are variations in details—a 
striking instance of how the 
Greek artist avoided mechani- 
cal reproduction. 

In Case D are also a number of noteworthy pieces. The 
figure of an Arcadian peasant, wearing a pointed hat and 
a mantle carefully fastened across his breast, has an in- 
scription on the plinth: “Phauleas dedicated it to Pan.” 
Pan was the chief god of the Arcadian peasants, so that 
this statuette of the peasant Phauleas was an appropriate 
offering to his god. A figure representing a man playing 
the lyre is inscribed on the back: “Dolichos dedicated 
me.” It too was clearly an offering to a deity. The 
statuette of a girl standing in the conventional archaic 
attitude grasping a fold of her drapery, and a reclining 


FIG. 40. BRONZE STATUETTE 
HERAKLES 


me Grr ATC PBRRIOD 7d 


woman stretched out on a couch, her left arm supported 
on a pillow, are charming illustrations of the naiveté of 
this archaic art. 

A few examples of advanced archaic art have been 
placed in Case N. They are a warrior on horseback, a Case N 
statuette of Herakles with a lion’s skin wound round his 
waist (fig. 46), and a group of Seilenos and a nymph 
(fig. 47). The little horseman 
is extraordinarily lifelike—the 
horse walking, the rider sitting 
his horse easily and holding 
the reins with both hands, his 
head turned a little on one 
side. Herakles is represented 
as kneeling on one knee, like 
the early running figure in 
Case F; the upper part of the 
body, however, is no longer in 
full front, but turned partly 
sidewise, and the portrayal of 
the features is more successful. 
Though the attributes of the 
statuette are missing, both 
hands being broken away, we 
know from analogous figures 
that he held a club in his right hand, and a bow in his left. 
The group of Seilenos and a nymph is a particularly 
charming product. He is represented kneeling on one 
knee, looking up in an appealing way at the nymph who 
is sitting on his shoulder; she is raising her hands with a 
deprecating air, as if to ward off his advances. The bust 
of a winged satyr, perhaps an ornament from a helmet, 
shows exquisite workmanship. A similar piece is placed 
in-icase’C., 


FIG. 47. BRONZE GROUP 
SEILENOS AND A NYMPH 


Case G 


Bronzes— 
Armor 


Cases K,U 


78 THIRD ROOM 


The statuette of a draped, standing girl (Case G), given 
by J. Pierpont Morgan, is one of the finest Etruscan stat- 
uettes in existence. It has all the grace and delicate charm 
which distinguish Greek art without giving any suggestion 
of artificiality due to imitation. The features are carefully 
modeled and no longer in the primitive manner, but in the 
developed archaic style. Moreover, there is a distinct at- 
tempt to make the form of the body show through the 
drapery, the rendering of the chest being particularly good. 
An analysis of the dress, however, betrays the copyist. 
She is supposed to be wearing above the chiton a himation 
of early style, like the one represented on the marble 
statue described on p. 239. Its rendering, however, 
clearly shows that the artist did not understand what he 
was representing. Instead of making it pass round the 
figure front and back, he has treated it merely as a sort 
of front panel, terminated on both sides and not appearing - 
at all on the back. There are also other errors, particu- 
larly in the treatment of the hair, where the loops, which 
should pass over the temples, are represented as separate 
tufts of hair. The general effect of the hair, however, 
is admirable; especially at the back, where its smooth, 
glossy surface is reproduced with extraordinary ability. 

Besides these statuettes our collection includes a num- 
ber of bronze utensils or parts of utensils, which testify 
to the great decorative instinct of the Greeks. Not only 
do the shapes show distinction and grace, but the objects 
are mostly ornamented with fine decorations. For to a 
Greek it was not enough to have an article useful; it also 
had to be beautiful. And as a result his humblest house- 
hold articles are now exhibited in our museums as works of 
art. 

In Cases K and U are shown a few pieces of armor which 
belong to this period. Two are helmets of later “ Corin- 


ARCHAIC PERIOD 79 


thian” type with reinforced cheek- and nose-pieces, 
shapely form, and no holes along the edge. (For earlier 
examples see Case K, Second Room.) Two pairs of 
greaves made of sheets of bronze, and with the outlines of 
the calves roughly modeled, belong probably to the sixth 
century B.c. They were kept in place by their elasticity. 

In Case OQ, is a marble lamp, beautifully ornamented 
with sphinxes, sirens, lions, and other animals, in low 
relief (fig. 48). The work shows 
delicacy and refinement. A 
small piece belonging to this 
lamp is in the Museum of Fine 
-Arts in Boston, and has here 
been reproduced in a plaster 
copy. The lamp originally 
stood on an iron pedestal, of 
which traces still remain. It may have served to light a 
temple. 

A limestone sphinx (Case B) is now unfortunately a 
mere fragment, but it must once have been a very pleasing 
object, for it is highly stylized; and it has great archaeologi- 
cal interest because the original colors are exceptionally 
well preserved—black for the hair, red for the body and 
for the feathers of the wings, blue(?), now green, for part of 
the wing, and white for the edgings. Even in this battered 
piece we can realize how much the color added to the 
effectiveness of the whole. 

The terracotta works of the period show the same 
eradual development from primitive archaism exhibited 
by the objects in marble and bronze. Three larger pieces, 
a female mask from Rhodes (Case K), an antefix with a 
female head (Case B), and a head in the round wearing a 
pointed cap (Pedestal De), are excellent illustrations of 
the archaic treatment of the head, and of its convention- 


FIG. 48. MARBLE 
TEMPLE LAMP 


Marble 
Case Qe 


Lime- 
stone 
Case B 


Terra- 
cottas 


Cases 
K, B, De 


Top of 
Case U 


Cases K,B 


So THIRD ROOM 


alizations in the modeling of the eyes, mouth, ears, and 
hair. 

The left half of a four-horse chariot group (on the top 
of Case U) is an interesting example of early struggles 
with foreshortening. One horse is shown in profile rearing 
to the left; the other is standing quietly with body in full 
front, only his head in profile. 
The arm of the charioteer is seen 
to the right grasping the reins. 
Similar effective compositions— 
which represent the accepted 
compromise with a problem as 
yet too intricate for solution— 
occur on contemporary black-fig- 
ured vases (cf. Cases R, S). A 
terracotta relief, possibly part of 
a metope (on the west wall) shows 
a rider with two horses, unfor- 
tunately much broken, but very 
attractive in its lifelike vivacious- 
ness. 

The terracotta statuettes of 
this period (Cases K and B) are 

oncrg eran chiefly seated female figures, in 
SEATED GODDESS characteristically stiff attitudes, 
but of great charm and dignity. 

They may represent either goddesses or votaries. Several 
still show extensive traces of coloring on their surfaces. 
The most important is a large statuette of a goddess sitting 
on a throne, with hands at her sides (Case K; fig. 49). 
Across the front of her dress is a charming figure of Nike, 
evidently intended to represent an embroidery. “Two ani- 
mal studies—a goat and a stag—and several small vases 
modeled in the form of heads and figures are in Case B. 


FIG. 49. TERRACOTTA 


SARCOPHAGUS 


99 


“* KLAZOMENIAN 


FIG. 50. 


Case E 


Case W 


82 THIRD ROOM 


An interesting series of heads and reliefs from Praesos, 
Crete, have come to us as a permanent loan from the 
American Institute of Archaeology (Case K). Especially 
remarkable is a relief of a warrior dragging home a female 
captive. 

A portion of a frieze with chariots and sphinxes is a 
work of great delicacy (Case E). The reliefs were obtained 
by means of stamps while the clay was still soft, and there 
are definite repeats, the sphinxes and chariots alternating. 
The fragment probably comes from a round stand of a 
cauldron; as it is finished at the bottom, it could not have 
formed a rim. Several antefixes and a revetment with a 
decoration of palmettes and lotos flowers are said to have 
come from an Etruscan temple at Cervetri. They illus- 
trate the employment of painted terracotta in architecture. 
These pieces have been placed on the top of cases (K 
and Z) on the west wall. The front part of a lion’s head 
(Case B) comes perhaps from a cornice; but it cannot have 
served the useful purpose of a waterspout, for the open 
mouth does not connect with the back. 

A Klazomenian sarcophagus is another important piece 
in terracotta (Case W; fig. 50). Such sarcophagi have 
been found in fair numbers near the little town of Kla- 
zomenal at the entrance to the Gulf of Smyrna, and 
quite recently the actual cemetery has been located. The 
importance of these monuments is considerable, not only 
on account of their intrinsic beauty, but because of what 
they can teach us of the contemporary Greek paintings 
which have disappeared. The designs are painted on a 
white engobe in brownish black glaze, either entirely in 
silhouette with superimposed white here and there, or 
with some outline drawing and details “reserved”’ in the 
color of the background. In our example there is a scene 
of battle with chariots and fighting warriors at the head; 


ARCHAIC PERIOD 83 


at the foot animals; on the sides a guilloche pattern with 
panels of centaurs and sirens—an effective composition 
with a pleasing distribution of darks and lights. Only 
the rim of the sarcophagus 


remains, the rest having 
evidently been cut away to 
facilitate transportation. 
Among the miscellane- 
ous material shown in Case 
C is a relief of unusual in- 


terest both for the mate- 
rial in which it is worked 
and for the excellence of its workmanship. It is in am- 
ber and represents a woman and a boy reclining on a couch, 
at the foot of which a little child (slave-boy?) is sitting 


FIG. 52. AMBER 
STAFUETTE OF A 
WOMAN AND CHILD 


FIG. 51. AMBER GROUP 


(fig. 51). The woman is holding an 
ointment vase and is dipping some- 
thinginit. The figures have no other 
attributes, and it is difficult to iden 
tify them with any mythological 
personages, if such were intended. 
Perhaps we have here a representa- 
tion of the goddess Aphrodite and her 
young favorite, Adonis. The group 
apparently served as an ornament of 
an object, remains of the original iron 
rivets being still preserved. It is said 
to have been found near Ancona and 
is a gift of J. Pierpont Morgan. An- 
other attractive piece in amber is a 
statuette of a woman carrying a child 
(Case N; fig. 52), only 24 inches high, 


a very finished, dainty work. 
Case C also contains a fine collection of beads of the sixth 


Amber 
Case GC 


Case N 


Glass 
Beads 


Case C 


Pottery 


84 THIRD ROOM 


and fifth centuries; for since approximately the same types 
were used during both those periods, they are here shown 
together. The majority are “eyed” beads, of which we saw 
earlier varieties in the Second Room, Case E. A compari- 
son with them will show the greatly increased skill and 
finish with which the bead makers now worked. A new 
technique is that of leaving drops of glass protruding from 
the surface. The beads in the form of grotesque masks are 
quaint products, clearly showing Oriental influence. Most 
of the examples here exhibited form part of the Gréau Col- 
lection of ancient glass, given by J. Pierpont Morgan. 

One of the most remarkable phenomena in the history 
of Greek vases is the absorption of the market of the world 
by Athenian ware. In the seventh and early sixth cen- 
turies there were flourishing ceramic centers all over Greece 
and her colonies, and each of these produced its own in- 
dividual pottery. The result was, as we have seen, that 
there was a great variety of fabrics, with different tech- 
niques and styles. By the second half of the sixth cen- 
tury a change began to take place. Local fabrics in the 
different parts of the Greek world gradually disappeared, 
and Athenian ware took their place. This wide distribu- 
tion of the products of one community over an area 
which included Greece proper, the Aegean Islands, the 
Cyrenaica, Egypt, Asia Minor, the Crimea, and above all 
Italy and Sicily, is eloquent testimony to the powerful 
commerce and rising artistic importance of the city of 
Athens. 

The great popularity which these Athenian vases enjoy 
at the present time above all other Greek pottery is due to 
various causes. First of all, the shapes show a beauty of 
line and proportion and a refinement of detail which place 
them in the front rank of artistic pottery; for the forms, 
which up to the sixth century had been of great variety, 


ARCHAIC PERIOD 85 


now became standardized, and the potter spent all his 
energies in perfecting a few selected shapes. The com- 
monest of these are shown in figure 53. Moreover, an im- 
portant invention was made which was to determine the 
character of Athenian pottery—the perfecting of the 


Oinochoé Alabastron Stamnos Lekythos Olpe 


Amphora Hydria Krater 


FIG. 53. SHAPES OF ATHENIAN BLACK-FIGURED VASES 


brownish black glaze in use for several centuries into one 
of jet black color, velvety texture, and astonishing dura- 
bility. But most important of all was the fact that the 
decorations on the vases were now definitely confined to 


1The composition of this glaze has been the subject of much investiga- 
tion. It contains no lead, as do most of the modern glazes. It is prob- 
ably similar in composition to the Mycenaean, geometric, and early 
Greek glazes, brought to perfection after centuries of experimentation. 


86 THIRD ROOM 


scenes from daily life and mythology. The rows of 
animals, so popular in the seventh century, appear only 
rarely, in subsidiary places, and the figured scenes, which 
had become more popular in the early sixth century 
B.C., are now practically universal. This feature adds a 
new interest to Greek ceramics. They are now no longer 
merely beautifully decorated objects which once served 
as utensils to the Greeks, but they form one of the chief 
sources of our knowledge of Greek life; for they present 
us with a beautiful series of illustrations of the great stories 
of Greek gods and heroes, and show us the men and women 
of the time engaged in every-day pursuits. 

Besides the figured scenes, another part of the decora- 
tion adds greatly to the attraction of Greek vases, namely, 
the ornamental designs. They are indeed among the most 
successful products of the Greek draughtsman. They 
were employed for dividing the surface of the vase into its 
component parts, they form effective framings for the 
chief compositions, and they decorate spaces not occupied 
by either the figured scenes or the black glaze. Occasion- 
ally, as on several fine examples in our collection, they 
form the sole decorations. The favorite motives are the 
lotos flower and the palmette (borrowed in the preceding 
century from the East, but now transformed into thor- 
oughly Greek compositions of remarkable elegance), the 
meander, ivy and laurel wreaths, rays, and tongue pattern. 

The technique of these Athenian vases during the sixth 
century is the so-called black-figured, that is, the designs 
were painted in black on the red color of the clay. The 
details of the figures and ornaments were scratched in with 
a pointed instrument, and purple and white used as acces- 
sory colors. Sometimes a white slip was used on the body 
of the vase, in which case the black figures stand out 
against white instead of red. 


ARCHAIC PERIOD 37 


Our collection of Athenian vases is fairly representative 
and gives a good general idea of this ware. In the figured 
scenes we shall observe many of the same characteristics 
as in the sculptural works of this period; notably the 
charming simplicity of conception and a highly developed 
decorative sense. 
They also show the 
same stylistic limi- 
tations, the inability 
to represent an eye in 
profile, the slow but 
eradual development 
in drawing the folds of 
a garment, and the 
limited knowledge of 
perspective. But there 
are certain rather ar- 
bitrary conventions in 
the vase-paintings 
with which the sculp- 
tor dispensed; for in- 
stance, that of repre-| 
senting men’s eyes 
round and women’s eyes oval, and painting the flesh of 
men black and that of women white. 

Three important examples of large size are mounted on 
separate pedestals. An amphora with a marriage pro- 
cession and combats of warriors is one of the finest black- 
figured vases in existence (Pedestal Y; fig. 54). The Pedestal Y 
work shows a finish and a delicacy rare in this technique. 

Splendid decorative spirals are painted beneath the handles. 
A magnificent column krater (Pedestal V) has as its chief Pedestal V 
picture a gigantomachy: Athena and Ares battling against 
giants, with a four-horse chariot standing by. The con- 


FIG. 54. ATHENIAN AMPHORA 
A MARRIAGE PROCESSION 


Case J 


Case Le 


88 THIRD ROOM 


fusion of the battlefield is admirably conveyed in the rear- 
ing horses, the falling bodies, and the attacking and re- 
treating figures. A large loutrophoros is a good example 
of a rare shape, unusually complete (Case J; fig. 56). 
Vases of this shape were used by Athenian maidens for 
bringing the water for the bridal bath from the spring 
Kallirrhoé, and they were also placed on the tomb of a 
maiden or youth who died unmarried, the idea being that 
the marriage had taken place 
with Hades. It was for the 
latter purpose that ours must 
have served, as we learn from 
the subject represented—the 
prothesis, or lying in state. 
A dead youth is stretched out 
on a couch with eyes closed, 
his head propped up with pil- 
lows. He is surrounded by 
wailing women raising their 
arms and tearing their hair, 
ARV E REL CEO one seated wiping her eyes 
FIGHTING CRANES with her garment. Mourning 
men, their hands raised in at- 
titudes of lamentation, are seen on the back of the vase 
and also on the neck; while below is a cavalcade of horse- 
men in slow advance—the funeral procession. The vase 
has no bottom, for it was meant to serve as a tomb mon- 
ument into which libations were poured, not to contain 
anything. 

A dainty aryballos is another unusually fine piece 
(Case Le; fig. 55). On the mouth is a spirited scene of 
pygmies fighting cranes—as many as sixteen figures oc- 
cupying a band only about five inches long and half an 
inch high; while on the body is a decoration of crescents 


FIG. 55. 


ARCHAIC PERIOD 89 


in four colors. Numerous explanatory inscriptions add to 
the interest. 

In Case L are several vases which deserve special notice. Case L 
A kylix (drinking-cup), on the 
upper shelf, signed by the pot- 
ter Nikosthenes (‘‘ Nikosthenes 
made me’’) is our only import- 
ant signed vase of this period 
(fig. 57). We may suppose 
that a signature meant then 
what it has since, that the 
maker, being proud of his work 
and perhaps afraid of imita- 
tions, liked to attach his own 
stamp to his products. Nikos- 
thenes was one of the most 
productive of all known Greek 
potters, judging at least by the 
number of vases bearing his 
signature which have survived, 
for there are altogether about 
eighty examples of his work 
known. The designs on our 
vase—a Chariot scene and Di- 
onysos with satyrs and FIG. 56. LOUTROPHOROS 
maenads—are not executed  wity pRoTHESIS SCENE 
with great finish; but as a 
piece of pottery, that is, from the point of view of the 
shape, the baking, and the quality of the black glaze, it 
is a magnificent specimen. 

A small kylix of the so-called “ Kleinmeister’’ type bears 
the signature XSENOKLES EMOIESE as its chief orna- 
mentation; another is inscribed XAIPE KAI PIEI EV, “‘hail 
and drink well.”’ Two vases have representations of 


Case M 


90 THIRD ROOM 


musicians. A small amphora shows a boy singing to the 
flute, and a man dancing and playing the lyre. The plat- 
forms on which the musicians stand indicate that they 
are playing in a contest. On an oinochoé (wine-jug) is a 
scene of a youth playing the lyre to three admiring ladies 
—a beautiful example of the grace and refinement of ar- 
chaic art. It should be noticed that across this scene is the 
inscription EVOILETOS KALE, “handsome Euphiletos.” 
It apparently became the fashion with Athenian vase- 


FIG. 577. KYLIX SIGNED BY NIKOSTHENES 


painters to inscribe their products with the names of 
prominent youths, coupled with the word xadds. This 
picturesque custom has definite archaeological value, for 
it brings in close connection the vases bearing the favorite’s 
name, not only because a potter is apt to pay this compli- 
ment to a favorite youth on a number of his vases, but 
also because vases with the same xadés name are natur- 
ally chronologically near to one another; occasionally the 
name mentioned is known to us from other sources, and 
this gives further valuable data. Sometimes no definite 
name is given, and the inscription simply reads 6 mais xanés, 
“the handsome boy.” . 

Among the vases in Case M are several with scenes of 
horsemen and warriors (one left unfinished), while two 
show exploits of the popular hero Herakles—his contest 


pape ALG) PoE RTO D 


with the sea monster Triton, on a hydria (fig. 58) and the 
bringing of the Erymanthian boar, on an amphora. 
latter scene is treated with great vivacity and humor. 
Herakles is represented as holding the wild boar over king 
Eurystheus, who in his terror has hidden ina large jar and 
is begging Herakles to spare him. On either side of this 


group are Athena, 
Herakles’ pro- 
tectress, and his 
friend Jolaos. 
Several ampho- 
rae have rep- 
resentations of 
Dionysos and his 
followers. Onthe 
top shelf are three 
kylikes; each 
with a low foot 
and with large 
eyes painted on 
each side. They 
are not Attic, 
but presumably 
the products of 
an Iomian school. 

In Case A are 


a number of likes (drinking-cups) and lekythoi (oil- 
jugs) of excellent workmanship. On a kylix on the top 
shelf, the birth of Athena from the head of Zeus is ren- 
dered with charming naiveteé. 
diminutive figure standing fully armed on the lap of Zeus, 
who is quietly sitting on a folding stool and holding his 
scepter. On either side is a birth-goddess lifting one hand 
in the usual gesture of surprise or joy. On another kylix 


PIG. Soo THY DRIA 
HERAKLES AND TRITON 


Athena is depicted as a 


Case A 


Case Q 


Case 


Q2 THIRD ROOM 


is a merry band of satyrs and maenads escorting Dionysos, 
full of the gay exuberance so refreshing in archaic art. 
On a skyphos (a deep drinking-cup) is Nereus riding a 
hippocamp. The lekythoi in this case are painted with 
ereat delicacy. One, with a white ground, shows a spear- 
thrower and a jumper carrying on their exercises to the 
music of the flute (see cover design). Ona second, Hera- 
kles is swinging his club against Queen Hippolyte, while 
the other Amazons are retreating in haste. The subjects 
on the others are Polos pouring out wine as a gift to his 
guest Herakles, a chariot scene, and men climbing in a 
tree. The kylikes on the bottom of the case are decorated 
chiefly with ornamental designs and show the beautiful 
use made of such motives by the Greek vase-painters (see 
head-band, p. 68). 

On the vases in Case QO are several interesting subjects— 
Theseus fighting the Minotaur, Herakles struggling with 
the Nemean lion, and bringing back the three-headed dog 
Kerberos from the Lower World, and Athena fighting the 
giants. On a kylix Achilles is pursuing young Troilos 
and Polyxena. He has surprised them at a fountain 
where Polyxena was drawing water; the jar she was filling 
is lying on the ground and a frightened rabbit is running 
across the scene. Ona hydria is an excerpt from a similar 
scene: Polyxena’s water-jar is broken in two. 

We have seen that the important part played by ath- 
letics in Athenian life is reflected also in the vases. The 
most interesting examples in this connection are the so-called 
Panathenaic amphorae, of which four splendid specimens 
will be found in Case P. We know from Greek literature 
that such vases were filled with olive oil and given as prizes 
at the Panathenaic games held at Athens every four years. 
On one side is Athena (see fig. 59), always represented 
fully armed _ and in a similar attitude, perhaps copied from 


ARCHAIC PERIOD 93 


a statue. She stands between two columns on each of 
which is perched a cock, the symbol of strife. The in- 
scription TON AOENEOEN AOVON, “from the games at 
Athens,” is painted alongside one of the columns. On the 
other side of the vase is the contest for which the prize was 
awarded. Our specimens show a foot-race, a horse-race, a 
chariot-race, and a pankration—a favorite sport consisting 


FIG. 590. PANATHENAIC AMPHORA 


of a mixture of boxing and wrestling (fig. 59). All are 
executed with much spirit. The horse-race is indeed a 
masterpiece in the representation of rapid motion. 

Besides these four Panathenaic amphorae, there are two 
other amphorae, likewise decorated on one side with 
Athena and on the other with an athletic contest, but of a 
different shape and without the inscription. Such vases 
are now generally explained as imitations of the Pan- 
athenaic amphorae, employed for general household use, 
but not given as prizes at the games. 

In Cases D and E are a number of dainty pieces, some Cases D,E 


Case R 


04 THIRD ROOM 


decorated with interesting subjects: a small lekythos with 
Peleus seizing Thetis; a pyxis with warriors arming; a 
kylix with a diminutive warrior throwing a spear at an 
equally active Amazon; and several beautiful ladles. A 
finely preserved kylix has two groups of fighting warriors 
rather large in scale on the interior. On a lekythos is a 
rare scene of the dragging of the body of Hektor (fig. 61). 
A white-robed charioteer is driving 
two horses at full speed, dragging 
behind him the limp body of the 
Trojan hero. Achilles is running 
alongside the chariot (not driving 
it as in. the [hades Pievenave 
just reached a high mound, the 
tomb of Patroklos, whose ghost, 
fully armed, is hovering by its side. 
Beneath the horses is a serpent, 
the symbol of death, and the Tro- 
jan plain is symbolized by a tree. 
It is a spirited picture, directly and 
FIG. 60. VASE IN simply told, like the great poem it 
peed eerie © illustrates. Several vases are 
FEMALE HEAD 
moulded in the form of the heads 
of helmeted warriors, women, and a negro. One, on the 
middle shelf of Case E (fig. 60), surpasses all the rest in 
the finish of its workmanship; it is indeed a masterpiece of 
this technique. The vase with the incurving rim and lid 
(on the bottom of Case D) is of uncertain use, for this 
shape has not been definitely identified with any Greek 
name. The decoration is beautifully composed. 

A number of vases with scenes executed on a white 
engobe instead of the red clay have been assembled in 
Case R. The four-horse chariot seen in front view and 
the battle of gods and giants are fine representations. 


Meee roALL CoP E RTO.) O05 


An amphora with a red ground, on the third shelf from the 
top, has a picturesque scene of Dionysos and Ariadne 
surrounded by their gay retinue of satyrs and maenads. 
On the bottom shelf should be noticed a hydria with rep- 
, resentations of Herakles struggling with the sea monster 
Triton, treated in much the same manner as on the hydria 
in Case M; and a second hydria, on which is a representa- 
tion of a marriage procession, with the bride and bridegroom 
in a chariot, similar to scenes on vases in Cases S-U and Y. 


FIG. 61. DESIGN FROM A LEKYTHOS. ACHILLES 
DRAGGING HEKTOR’S BODY 


For the vase-painter adopted the same methods as the 
sculptor; he devised certain types and worked at these 
with astonishing persistence. Thus we find even in our 
comparatively small collection a large number of similar 
representations, similar but hardly ever identical; for 
though the Greek artist had the perseverance to keep to 
one path until he reached perfection, he had none of the 
machine-like instinct for exact repetition. 

In Case S the most interesting vases are (on the third 
shelf from the top) two small amphorae, one with a repre- 
sentation of Hermes stealing the oxen of Apollo, the other 
with Herakles about to throw a large rock at Kyknos. 
On the small shelf above this is a miniature Panathenaic 
amphora with Athena on one side and a victorious athlete 
on the other, probably a child’s toy. A lekythos on the 


Case S 


Case T 


Case U 


Gems 


06 THIRD ROOM 


top shelf has as its subject a warrior carrying a wounded 
companion from the battlefield. They may represent 
either contemporary Athenians or Homeric heroes. 

In Case T (left half, second shelf from the bottom) is a 
piece of rare shape, known as an onos. It is not strictly 
speaking a vase at all, but an implement; for it fitted on 
the knee and was used by women in carding wool. (For 
another example see the collection illustrating Greek and 
Roman life.) Several of the vases in this case are deco- 
rated with chariot scenes. In most of these the artist was 
content to represent his horses entirely in profile, thus 
avoiding complications of perspective; but occasionally 
he has tried his hand in depicting at least two partly in 
front view—with as yet not very successful results. An- 
other example of the loutrophoros shape is placed on the 
bottom shelf in the right half of the case. It is much more 
fragmentary than the one described above (Case J) and 
has been largely restored. 

In Case U is an important kylix signed by its maker 
Epitimos EM ITIMOs Ef OIESEN; it is the only example 
of his work which has survived. On the inside is a 
representation (unfortunately rather badly preserved) of 
an archer on horseback and by his side a warrior sliding 
down from his horse. 

Another art which began to be widely practised in 
Greece in the sixth century is that of engraving gems. 
The technical inspiration had come from the Orient, from 
which Greece relearned (for she had known it in Minoan 
times) the working of hard stones with a wheel. The 
home of the art was probably Ionia, but it soon spread 
to the rest of Greece and was eagerly imitated in Etruria. 
The stones of this period are chiefly of the scarab and cone 
shapes, and they served a practical purpose, that of the 
seal. The subjects represented are similar to those we 


Mm ereAL GPE RIOD Q7 


find in sculpture, and the stylistic advances made during 
the period are reflected in the gems. We find here, as in 
the vases, a highly developed sense for adapting the figures 
to the space they decorate, but on the gems it is even more 
noticeable, because the composition is compressed into 
so small a space. 

Our collection includes examples from both Greece and 
Etruria (Case C). A charming specimen, probably from 


FIG. 62. EARLY HAND—MODELED GLASS 


Ionia, shows Hermes, draped, holding his messenger’s staff 
and a flower. Another, lent by W. Gedney Beatty, has 
birds devouring a stag. On a carnelian from Cyprus is a 
youth seizing a crouching girl by the hair; another has 
a carefully worked figure of Herakles holding a lion by the 
tail. Several are decorated with animals in various atti- 
tudes; a beautiful example is a carnelian with a wild sow. 

Allied to the art of gem engraving is that of the manu- 
facture of coins, which by the sixth century B.c. were in 
common use among the Greeks as a medium of exchange. 
Coinage was invented, very probably by the Lydians, at 
theend of the eighth or the beginning of the seventh century 
B.c. and quickly spread throughout the Greek world, 
nearly every city and colony adopting its characteristic 
type or design. Indeed, the wealth and variety of the 


CaseG 


Case Ep» 


98 THIRD ROOM 


types on Greek coinage are a picturesque commentary on 
the ‘independent life of Greek city states. Gold, silver, 
electron (a natural alloy of the two), and copper with its 
alloys were the metals used, the first two being employed 
in a very pure state. The coins are thick in comparison 
with modern fabrics, and so irregular in shape that they 
could not be stacked one upon another. They were struck 
from dies made by the methods of the gem engraver. 
Coins may thus be regarded as small 
reliefs, and as such they show a con- 
tinuous artistic development, though 
this is retarded by a tendency to keep 
the appearance of the coin more or less 
unchanged. This conservatism on the 
part of a trading people is reflected to 

FIG. 63 a marked degree in the coinage of 

COIN OF ZANKLE Athens. 

Among our examples of the archaic period (Case Ez) 
are two gold staters of Croesus, king of Lydia, with fore 
parts of a lion and bull heraldically confronted, the reverse 
(“tail’’) showing at this early period merely incuse squares 
(compare four similar staters in the Sardis Room, p. 322). 
A curious fabric is that of the coins of Poseidonia and other 
South Italian cities, which repeat in intaglio on the reverse 
the design which appears in relief on the face. The Posei- 
don of Poseidonia is an excellent example of the striding 
type in archaic Greek art. A very early stater of Aigina 
bears the tortoise which remained as the type of the city 
throughout its independent history. A coin of Taras with 
Taras on a dolphin foreshadows the splendid series struck 
by that city in the fifth and fourth centuries. The leaping 
dolphin on the drachma of Zankle (fig. 63) is beautifully 
stylized in the archaic manner. 

In sixth-century Greek tombs are frequently found 


peewwaa PE. RLOD 99 


glass vases of a type evidently derived directly from Egypt. 
A good collection is shown in Case Z (see fig. 62). These 
vases are not blown—the invention of blowing glass not 
having been made until shortly before the Christian era— 
but modeled by hand over a core. The variegated pat- 
terns we see on them were apparently produced by apply- 
ing threads of colored glass on the surface of the vase while 
it was still hot, incorporating them by rolling, and then 
dragging the surface in different directions with a sharp 
instrument. Such vases, chiefly of the alabastron and 
oinochoé shapes, continued in Greek lands until the fourth 
century; and as no excavation data are obtainable for our 
- specimens, it is not certain to which century they belong; 
but they are here exhibited together as typical products 
of this period. Several early Egyptian specimens of the 
XVIII to XXVI dynasties (about 1500-600 B.c.) are 
placed with them to show the kind of prototypes from 
which the later vases were derived. It will be observed 
that the Egyptian examples are of a greater brightness 
and purity of coloring than the later products. 

In a small case in the northeast corner of the room are 
exhibited photographs of objects in other museums related 
to those in this gallery; also photographs illustrating the 
methods used by the Greeks in their pottery and bronze- 
work, and views of Greek graves showing vases and terra- 
cotta statuettes buried with the deceased, a custom to 
which we owe most of the material in our collection. 


Glass 
Case Z 


Illustra- 
tive Pho- 
tographs 


FOURTH ROOM AND EASTERN 
COLONNADE “OFT WiiGaae 


FIRST HALF OF V GENT UT iaaa= 
FOURTH ROOM 


By the end of the sixth century almost every Greek 
state had disposed of its tyrants and become a democracy. 
For the inevitable had happened; the tyrants had abused 
the absolute power which they had at first wielded for 
the good of the state, and had thereby caused their own 
downfall. But the long subjection, under one ruler, of 
the old oligarchic and democratic parties had acted as a 
great leveler, and the path for the establishment of democ- 
racies had been prepared. 

The history of Greece continues to be the history of a 
number of separate states, but among these, two emerge 
as the most powerful and as the natural leaders of the rest. 
They are Sparta and Athens. Much of subsequent Greek 
history is taken up with the rivalries between these two 
cities, one a great militaristic state, the other the 
champion of individuality and democracy; but at the 
beginning of the fifth century, a great danger from outside 
overshadowed all else in importance. This was a threat- 
ened invasion by Persia. Persia had become the most 
powerful empire in the East, and was adding one country 


FIG. 64. BRONZE STATUETTE 
DISK-THROWER 


102 FO°U;K tit RO Om 


after another to her conquests. The Ionian Greeks of Asia 
Minor had already been subjected to her rule, and the next 
step was to send an expedition to Greece proper to subdue 
it also. To Persia, no doubt, this expedition appeared of 
little moment; it seemed an insignificant undertaking for 
the mighty hosts of the king of 
Persia to defeat the miscellaneous 
little armies of a few Greek states, 
whose local bickerings and rival- 
ries would probably prevent their 
showing a united front. To the 
Greeks the outcome must also 
have appeared inevitable. And 
yet the unexpected happened. At 
Marathon, Salamis, and finally at 
Plataea the Greeks proved victo- 
rious against their Asiatic invaders 
and vindicated their own freedom 
and that of Ionia. It was one of 
the few glorious wars of history; 
for the issue was clear and unmis- 
takable. A mighty and prosper- 
ous empire had attacked a small, 
free country with the sole purpose 
of bringing it under subjection, 
and had been frustrated of its pur- 
pose. As viewed in the light of 
subsequent history, this struggle 
assumes even greater importance. We know now that 
with the liberties of Greece European civilization hung in 
the balance. If Greece had been defeated, she would 
have been Asiaticized, and her art, literature, and philoso- 
phy, which were to mould all subsequent European cul- 
ture, would have assumed a different cast, 


FIG. 65. DETAIL 
OF DISK-THROWER 


Peper SOF V CENTURY B.C. 103 


The Greeks, though they could not have realized the 
momentousness of their victory for future Europe, cer- 
tainly understood its importance for themselves. They 


had performed a feat of 
which they could well be 
proud, and the whole 
country felt the exalta- 
frome especially in 
Athens, which had played 
the most important part 
in the defeat of the en- 
emy, feelings ran high. 
Her power and prestige 
were further increased by 
the foundation of the 
Delian confederacy, with 
herself in charge of the 
combined fleets and 
money contributions of 
her allies. 

Under such stimulus, 
progress in art was rapid. 
In the short space of half 
a century all branches of 
art rid themselves of every 
trace of archaism without 
discarding, however, the 
old sense for design and 
composition. This de- 


FIG. 66. BRONZE STATUETTE 
YOUTH SALUTING A DIVINITY 


velopment took place during the end of the archaic 
period (the beginning of the fifth century) and through the 
transitional period (about 480-450 B.c.), which represent 
the epoch we are now considering. But the elevation of 
spirit caused by the success over Persia did not result 


Bronzes— 
Statuettes 


Case K 


104 POOR Th sik Ouys 


merely in truer modeling and drawing. An entirely new 
spirit began to pervade art. Archaic art had had refine- 
ment, precision, and a beautiful directness and decorative 
sense; but it had not yet expressed any spiritual quality. 
Now a new note of idealism was introduced, which hence- 
forth became the most significant feature of Greek art. 
It showed itself not in a new choice of subjects, nor in new 
attitudes and expressions; but rather in a greater concep- 
tion and a larger treatment of familiar types. This new 
spirit finds its consummation in the second half of the 
fifth century B.c., but in the transitional period it is al- 


‘ready manifest. The Olympia pediment groups! are the 


most conspicuous examples; but the same style will be 
found in many a smaller and more modest production. 

The marble sculptures belonging to this period have 
been placed in the Greek Sculptural Hall. The bronzes, 
terracottas, vases, engraved gems, and coins are exhibited 
in this room as well as in the Eastern Colonnade of Wing 
K. We will describe first the objects in this room and then 
proceed to those in Wing K. 

Among the bronzes are several statuettes of great beauty 
and importance. The earliest, dating from about 480 
B.C., represents an athlete holding up a diskos in his left 
hand (Case K; figs. 64 and 65). From this position the 
diskos would be raised above the head with both hands, 
then swung downward and backward preparatory to the 
final throw-off. The figure is beautifully and simply 
modeled with a clear delineation of each part which gives 
it precision and style. It may be compared with the full- 
size torso No. 1o in the Sculptural Hall with which it is 
about contemporary. The advance toward naturalism 
has made great strides, but we are still conscious of the 
set scheme of archaic art. Anda number of archaic traits 


1Casts of these are in the large cast gallery, A 38, on the first floor. 


a e 


Poorest OF V CENTURY B.C. 105 


remain. For instance, the muscles of the arms and of the 
calves are unduly accentuated; the ears are of primitive 
form and placed too high; the eyelids are heavy; and 
the corners of the mouth are turned down too far. But 
these are details. What 
makes this statuette a 
masterpiece of Greek art 
is the largeness of con- 
ception which the artist 
has been able to impart 
to it both in the splen- 
did proportions of the 
figure and in the har- 
iponioibs pose, lt 1s 
probably of Athenian 
workmanship. 

Another fine statuette 
of this period or slightly 
later—about 470 B.c.— 
represents a youth rais- 
ing his right hand to his 
lips in the customary at- 
titude of saluting a di- 
vinity (Case D; fig. 66). 
Like the disk-thrower 
just described, it com- FIG. 67. BRONZE STATUETTE 
bines an advanced tech- YOUTH FINISHING A JUMP (?) 
nique with some rem- 
nants of archaism, such as a certain stiffness of pose, an 
exaggerated broadness of the shoulders, and a rather 
primitive rendering of the ears and hair. The wonderful 
dignity of the pose and the large style in which the figure 
is executed suggest that it may be a copy of a full-size 
statue. It was probably intended as a votive offering. 


Case D 


Case L 


Case A 


106 FOURTH ROOM 


A statuette of an athlete holding both arms before him 
(Case L; fig: 67) is an example of the beautiful model- 
ing done by artists toward the middle of the fifth cen- 
tury B.c. Fortunately the surface is well preserved, so 
that every detail can be appreciated. The attitude is 
unusual and full of interest. It used to be mounted on a 
modern slanting base which made it lean slightly forward 
and was interpreted as a diver or an athlete finishing a 
jump.!' But the dowels on the 
feet are at right angles with 
the soles, and this suggests that 
the base was _ horizontal. 
So mounted, the statuette leans 
slightly backward in a rather 
precarious pose, and may repre- 
sent an athlete finding his bal- 
ance after a jump. Such an 
attitude would be possible only 
at the period to which this stat- 
uette belongs, when all sorts of 
new poses and innovations were 
attempted (compare, e.g., the Diskobolos of Myron and 
the statuette of a falling warrior in Modena). 

Several other statuettes and heads of this period are 
exhibited in Case A. A small head of a youth, contem- 
porary with the adorans (fig. 66) shows the same fine, firm 
modeling (fig. 68). It is not broken from a statuette, for 
it is finished at the bottom. A small hole in the center 
suggests that it was fastened to some object. A perforated 
attachment at the top of the head could hardly have been 
used for'suspension, for it is too slight for the weight of the 
head; it too is a puzzle. 


FIG. 68. BRONZE 
HEAD OF YOUTH 


1Cf. Catalogue of Bronzes, No. 81. 
°C. H. Young, American Journal of Archaeology, 1926 (4), pp. 427 ff. 


Mere OF OY CENTURY. B.C. 107 


A standing youth which evidently once served as a 
mirror support (fig. 69) has the same simple grandeur and 
restrained modeling. From his shoulders emerge fore 
parts of horses, and crowning his head is the upper half of 
a female figure—a rather unusual composition, apparently 
an attempt to vary the accepted scheme of flying Erotes 
placed on either side of an 
Aphrodite (see p. 141). 

Two small herms are evi- 
dently copies of the same 
original as the stone herm 
found at Pergamon and per- 
haps to be identified with the 
Hermes Propylaios by Alka- 
menes. The original was 
certainly a famous work, for 
there are many replicas, gen- 
erally with slight variations. 

The group of a man and a 
woman walking with their 
arms placed round each 
other is an engaging product 
of Etruscan art. Their atti- é 
tudes, he with extended right eas Bs ee eee gage 
hand, she daintily picking | 
up her dress with her left, are charmingly natural and 
vivacious. The round base on which the group stands 
suggests that it formed the crowning feature of a candela- 
brum. A handle of a vase terminating at the bottom in 
a siren (see tail-piece, p. 143) is a highly decorative piece. 
The siren is represented with spread wings and is standing 
on an acorn with a palmette below and a design of scrolls 
on each side. Several jugs show the fine sense of form 
and proportion prevalent at this period. 


Bronzes— 
Vases 


Case E 


Marble 
Statuette 


Pedestal 
N 


108 FOURTH ROOM 


Ten vases, said to have been found together in a tomb at 
Civita Castellana, are further excellent examples of such 
work (Case E). They consist of three jugs with beaked, 
trefoil mouth and high-shouldered body (see fig. 71); four 
cylindrical jars; a patera with long handle (see fig. 70); 
a silver cup with bronze handle; and a 
vessel of which only the round mouth is 
preserved. The bronze pieces are all 
covered with a brilliant blue patina. In 
elegance of form and in precision and 
delicacy of workmanship such products 
have rarely been surpassed. The handle 
of the patera in particular, with its 
elaborate decorations in relief and open- 
work, may be regarded as a masterpiece 
of Greek decorative art. And through- 
out utility is always considered. The 
beaked mouths are well adapted for 
pouring; the patera handle has a smooth 
portion at a place convenient for a 
thumb-rest, an openwork decoration to 
prevent the handle from becoming too 
hot, and a ring at the end convenient for 
hanging it on the wall. 

A marble draped statuette (Pedestal N) 
FIG. 70. is a Roman copy of a sculptural type of 
BRONZE the second quarter of the fifth century. 

HANDLE OF A full-size replica of this figure in Berlin 

A PATERA 

has on it a Roman portrait of the Anto- 
nine period. The replicas of the head originally intended 
for this figure show that the himation was drawn over the 
head. Interest is added to our statuette by the inscrip- 
tion Europé on the upper face of the base—in Greek let- 
ters of Roman date. The name is followed by a palm 


a 


erento ia OF V CENTURY. B.C. 109 


branch, the Christian symbol for victory. This suggests 
that—at least at the time that the inscription was in- 
cised—the missing head was a Roman portrait (as in the 
Berlin statue), and that the name Europé refers to the 
Christian lady who chose to be represented in this guise. 

Work in terracotta during the later archaic and transi- 
tional periods is represented by several statuettes and 
reliefs. The most important 
is a beautiful fragment of a 
draped female figure (fig. 73), 
measuring in its present con- 
dition 172 inches (45 cm.) in 
height (Case H). Since it is 
much larger than the ordinary 
statuette, it has been sug- 
gested that it served as a 
sculptor’s model for a full-size 
statue; but such clay models, 
though undoubtedly used, 
were not generally fired, at 
least we have no other certain 
specimens. Whatever pur- 
pose it served, it is a fine 
example of the dignified, “ar- FIG. 71. BRONZE JUG 
chitectural”’ style of drapery 
of the period of about 450 B.c., comparable in concep- 
tion with the Olympia sculptures. 

A terracotta relief in Case A is decorated with a rare, 
interesting subject: Odysseus having his feet washed by 
his old nurse Eurykleia (fig. 72). It is an illustration of 
the incident told so graphically in the Odyssey. “The 
_ old dame took the shining cauldron with water wherefrom 
she was about to wash his feet. . . . And she drew 
near and began to wash her lord and straightway knew 


Terra- 
cottas 


Case H 


Case A 


Case G 


AEG PF OsUvRS tie, Om a 


the scar of the wound which long ago a boar had dealt 
him with his white tusk.” The standing youth and 
woman are doubtless Penelope and Telemachos, playing 
no active role in the scene but merely part of the general 
background of the story. The style is curiously large for 
so small a work. The figures have the same splendid com- 
posure and detachment as the large sculptural works of 
the period. Some 
of the colors with 
which the relief was 
originally painted 
are still preserved. 

The upper part of 
a female figure in 
relief in: Cases Gets 
another important 
piece. She is repre- 
sented wearing a 
polos, a chiton, and 
over it a peplos; her 

FIG. 72. TERRACOTTA RELIEF hands are brought 

EURYKLEIA WASHING THE FEET to her breasts, and 

OF ODYSSEUS 
between the left 
thumb and forefinger she holds a lotos bud. It seems 
clear that a nature goddess is intended, perhaps Demeter 
or Persephone. The relief was probably a votive object, 
hung up in a sanctuary; for at the back is a hole for 
suspension. . 

Another interesting piece in the same case is a fragment 
from a “Locrian”’ relief, of rough, gritty clay. It repre- 
sents a youthful, beardless figure carrying off a girl, who 
has one arm outstretched to indicate fright, while in the 
other she holds a cock. The subject has been identified 
as Hades carrying off Persephone, in which case the repre- 


mews OF V CENTURY &B.C. III 


sentation of Hades as a youthful, instead of an elderly, 
bearded man, is unusual. 

Several fine heads in Cases CandG have been bequeathed Cases C, G 
by Richard B. Seager. They 
show the splendid poise of 
even the more modest works 
of this period. 

In the field of vase-painting 
the supremacy of Athenian 
ware was now completely 
assured. Other fabrics were 
practically discontinued and 
‘Athenian products were ex- 
ported to all parts of the 
Greek world. The stimulus 
of supplying a world-wide de- 
mand naturally reacted on 
the potters of Athens. Highly 
eifted men took up the pro- 
fession, and a new era was in- 
troduced which marks the 
high-water mark of Greek 
vase-painting. The shapes, 
too, have a sturdiness and at 
the same time an elegance 
which are peculiarly satisfy- 


Vases 


FIG. 73. TERRACOTTA 
ing. FRAGMENT 


With the general advance Vases— 
in ability it was inevitable that the vase-painters should Red- 


eee figured 
find their opportunities limited by the old black-figured 


technique. The method of scratching in all detail lines 
was clumsy and hampering; and it was necessary to find 
means to obviate this difficulty. This was done sim- 
ply by reversing the color scheme, that is, the background 


112 F'O-U_ Rel He oR Ou 


was painted black, and the figures were reserved in the 
color of the clay. The process seems to have been as 
follows: A preliminary sketch was first made on the clay 
with a blunt-pointed stick. Then the outlines of the 
figures were painted black outside the spaces reserved 
for the figures, first in a thin line to determine the con- 
tour, then in a broader stripe. All detail lines could 
then be painted in black or diluted black, and the back- 
eround filled in with black varnish. The contour stripe 
would protect the varnish from running into the figures. 
Purple and white were still used as accessory colors, but 
much more sparingly than in the black-figured technique; 
the custom, for instance, of painting the flesh of women 
white was definitely dropped. The potters apparently felt 
that more artistic effects could be obtained by restricting 
the color scheme. 

It will easily be seen how much more delicate and flow- 
ing the detail lines could be made by painting them than 
when they had to be laboriously incised. The Greek pot- 
ters made full use of this new opportunity, and the delicacy 
and sureness of hand displayed in their best line-drawing 
still arouse universal admiration. 

The introduction of the “red-figured”’ technique proba- 
bly took place as early as about 530 B.c. At first it natu- 
rally went on side by side with the “ black-figured”’ style, 
until gradually the advantages of the new method were 
so apparent that the older style fell into disuse. For the 
sake of convenience all our red-figured examples of the 
late sixth century and the first half of the fifth century 
have been grouped together. They can be divided chron- 
ologically into several classes: early archaic (about 530- 
500 B.C.), ripe archaic (about 500-475 B.c.), late archaic 
(about 475-460 B.c.), and early freé (about 460-420 B.c.). 

Throughout this epoch the vase-painters were solving 


Meareserniers Or YY CENTURY ~ B.C. 113 


one by one the problems which confronted them, at first 
the more elementary questions of correct representation 
in simple profile views and later more and more compli- 
cated problems of foreshortening and composition. How 
far the vase-painters in this progress merely followed in the 
footsteps of the great painters of the period, whose works 
are now completely lost to us, cannot be definitely deter- 
mined. That the potters should owe a great deal to con- 
temporary paintings would be only natural. On the other 
hand, the high level of achievement by the vase-painters 
during this memorable epoch shows that they ranked 
high as artists and would therefore not be likely slavishly 
to copy other people’s work. 

Our collection includes a large number of excellent vases 
belonging to this epoch, so that we can follow step by step 
the steady progress made by the Athenian potters. In 
our arrangement of this material another consideration has 
been borne in mind. Interest in Greek vase-paintings has 
been greatly increased within recent years by their system- 
atic stylistic study and by the creation thereby of many 
new, clearly recognizable artistic personalities. Owing 
largely to J. D. Beazley’s researches! we are now no longer 
confined to the few masters who actually signed their 
names either as potters or painters; but we can study the 
work of many other vase-painters who have emerged into 
daylight as distinct individualities. Since their original 
names are lost to us they have been called mostly after 
their chief works 

Such “attributable” vases in our collection of the peri- 
ods here considered are exhibited in this room, the prod- 


1Cf. Attic Red-figured Vases in American Museums (1916), Attische 
Vasenmaler des rotfigurischen Stils (1925), articles in the Journal of 
Hellenic Studies, etc. The attributions here made are those of Mr. 
Beazley. 


114 FOURTH ROOM 


ucts of each artist having been grouped as far as possible 
together in the same case. 

Our examples of the early archaic style have been placed 
mostly in Case T. The style is still essentially the same 
as on their black-figured contemporaries; that is, the atti- 
tudes of the figures are stiff and angular, the draperies 
fall in formal folds, and all the figures are scrupulously kept 
in profile view. The eye is likewise painted as if seen in 
front view, with the iris and pupil in the middle of the 
eyeball, just as it was on the black-figured vases; but the 
distinction in shape between a man’s and a woman’s eyes 
is abandoned. 

One of the best examples of this style in our collection 
is the psykter (wine-cooler) with athletes practising jump- 
ing and the hurling of the diskos; among them is a boy 
being crowned for a victory by his proud trainer. It 
has been attributed to the painter Oltos. The short, 
thick-set figures have his virile simplicity and the types of 
the bearded trainers in their mantles with ends falling in 
zigzag lines occur again and again on his paintings. A 
kylix with Herakles fighting the Nemean lion, unfortu- 
nately very badly preserved, is another example of his 
style. A kylix with a youth holding a flower on the interior 
and athletes practising has been attributed to the Euer- 
gides Painter, the decorator of several cups signed by 
Euergides as potter. His style resembles that of the great 
Epiktetos in compactness and vigor, though it lacks the 
latter's precision. Another kylix, by the Epeleios Painter, 
has a wreathed youth running and banqueters making 
merry. They have a rather awkward, loose-limbed ap- 
pearance, but are full of life and charmingly decorative. 
An amphora on the bottom shelf has a representation of 
Neoptolemos, “the fierce-hearted son of Achilles,” advanc- 
ing to kill the aged Priam. The latter sits on the altar, 


Pie yee eNE FROM A KYLIX. SIGNED BY THE 
POTTER EUPHRONIOS 


figured 
Ripe 
Archaic 
Style 


116 FOURTH ROOM 


with averted face, his hand held to his head as if utterly 
dazed by his sufferings. It is by the Nikoxenos Painter, 
a typical example of his angular, expressive style. In 
spite of the stiffness of the attitudes the scene makes us 
feel the pathos of Priam’s death, his utter helplessness and 
resignation, perhaps better than the later more elaborate 
and skilful renderings of this subject. On two vases—a 
kylix bearing the name of OSIA+S (top shelf, left) and a 
krater with masks of seilenoi between large decorative 
eyes (bottom shelf, right)—the old black-figured and the 
new red-figured techniques.are used side by side. A 
beautiful kylix of this period (Case J) with a contest of 
warriors is painted with a delicacy and refinement ap- 
proaching the work of a miniaturist. 

At the beginning of the fifth century a great change took 
place in vase-painting, as in other branches of Greek art. 
Constant study had given Greek artists a more thorough 
knowledge of the human body, and this opened up a new 
world to the vase-painter. He now began to try his hand 
in many new directions. He learned to draw the human 
body not only in profile but in three-quarters view; the 
folds of the draperies became flowing and graceful; and, 
above all, the attitudes of the figures were freer and more 
natural. The drawing of the eye in profile underwent an 
interesting development. First, the iris was moved from 
the center of the eye to the inner corner; then this corner 
was opened; and finally the contours of the eye, of the iris, 
and of the eyelid were drawn correctly. 

There is perhaps no more fascinating period in Greek 
vase-painting than this of increased and yet not complete 
knowledge, when the artists had acquired great technical 
skill and much knowledge of structure and movement, and 
when their decorative sense was still strong. It is signi- 
ficant that at this period signatures of artists are more 


SCENE FROM A KYLIX SIGNED BY HIERON 


FIG. 75. 


Case M 


118 FOURTH ROOM 


frequent than at any other time, showing the eager com- 
petition which was going on in the potters’ workshops. 

In Case M will be found several vases bearing such 
signatures of makers. On the bottom shelf, extreme left, 
is one by the famous potter Euphronios (i. e., signed 
EVOPONIOS EPOIESEN], “Euphronios made it’’). 
It is a kylix with a representation, in the interior, of Her- 
akles setting out for some adventure, with a small com-. 
panion by his side (fig. 
74); and on the exterior, 
two exploits of Herakles 
—his combat with the 
sons of Eurytos, and his 
attack on Busiris and 
his attendants. Where 
the surface is well pre- 
served we can still see 
the beautiful wealth of 
detail with which these 
FIG. 76. SCENE FROM A KYLIx Scenes were painted. We 

YOUTH PLAYING THE LYRE do not know the name 

of the painter of these 
scenes; but the style is familiar from other works also 
bearing the signature of the potter Euphronios and for 
want of a better name he is generally called the Panaitios 
Painter, since he often uses Panaitios as a xadés name.” 
The pictures on our kylix have the same power and swing 
that characterize the other works of this artist. 

From the workshop of Hieron (i.e., signed, HIEPON 
ET OIESEN) we have three good, characteristic examples. 
They are decorated with “conversation”’ and symposion 
scenes of men and women, and men and youths in well- 


‘For the custom of potters and vase-painters signing their work, see p. 89 
*For the use of kadés names, see p. go. 


FIG, 77. SCENE FROM A KYLIX 
WOMEN PUTTING AWAY THEIR CLOTHES 


Case C 


120 FOURTH ROOM 


balanced, harmonious compositions with beautiful line- 
drawing for draperies (fig. 75). The name of the painter 
of most of the Hieron vases we know to have been Makron, 
since a kylix in Boston of the same general style is signed 
“Hieron made it, Makron painted it.” With these signed 
vases have been placed several other kylikes and a frag- 
ment of a cup, which show the same characteristics both 
of poses and features (note especially the long, flat skull 
and the peculiar profile with 
drooping under lip and 
prominent chin), and have 
therefore been attributed to 
the same master. The sub- 
jects represented on them are 
seilenol pursuing maenads, a 
youth watching a girl danc- 
ing, and men conversing. 

In the center of the mid- 
dle shelf is a beautifully pre- 
served kylix with a picture 
on the interior of two women 
putting away their clothes (fig. 77) and on the exterior 
of women and youths conversing. They have been at- 
tributed to the famous vase-painter Douris, as one of his 
latest works. The quiet monumental style and accom- 
plished drawing are in line with his other works. A small 
kylix nearby has a charming representation of a boy play- 
ing the lyre and singing to its music (fig. 76). He is evi- 
dently much moved, for he is looking up as if inspired. 
We have few pictures of such grace and feeling expressed 
by means so simple. The style appears to be allied to 
that of Douris. . 

In Case C are assembled several examples attributed 
to the painter Brygos and his school. Perhaps the finest 


FIG. 78. RHYTON IN THE 
FORM OF TWO HEADS 


Pereira) Fs VV CENTURY - B.C. I2] 


is the moulded vase in the form of two female heads with 
pictures of reclining satyrs (fig. 78). They show his 
beautiful facile drawing, his animation and humor, and 
his wonderful sense for composition; moreover, they are 
full of the gay, lifelike touches he loved. How nicely 
observed, for instance, is the attitude of the satyr with the 
castanets, raising one leg as he turns around, and what an 


FIG. 79. SCENE FROM A HYDRIA 
ACHILLES AND PENTHESILEA (?) 


effective variation are the momentary pose of one satyr 
and the luxurious abandon of the other. A “komast” 
or banqueter on a kylix shows the same characteristics. 
Though resting he conveys the feeling of high-strung life 
better than many a scene of intense action. A running 
Thracian woman on another kylix is perhaps an excerpt 
from a larger composition representing the death of Or- 
pheus. An Athena standing with her helmet in her hand 
is a quiet statuesque picture by this master of motion. 
We may note in all these figures the characteristic Brygos 
face with large nose, full, protruding, black-bordered lips, 
long eye, and curved high eyebrow. 


Case Q 


122 FOUR) He RO 


Case Q contains chiefly works attributed to the Painter 
of the Bern Amphora and to the Pan Painter. By the 
former we have three excellent examples. The earliest is 
a hydria with a representation of a Greek warrior plunging 
his lance into an Amazon, perhaps to be identified with 
Achilles and Penthesilea (fig. 79). She has received a 
wound under her right breast and is sinking down under 
the fatal blow. It is a less 
intimate, less emotional 
representation of this dra- 
matic moment than that on 
the famous cup in Munich 
by the Penthesilea Painter!; 
rendered more in the imper- 
sonal-archaic fashion, yet 
grandly conceived. The 
sweep of the falling Amazon 
and the self-confident stride 
of the warrior make a finely 
contrasted composition. 

“1G. Ron Cee The litheness, elasticity, and 

GANYMEDE angular grace are character- 

istic of this master. We meet 

them again in the charming picture on an oinochoé of a 

youth playing the lyre with a boy and a dog as listeners. 

An amphora with satyrs is a less painstaking work of 

similar style. A noteworthy detail in the drawing of 

these pictures is-the rendering of the ankle-bone by two 
curving black lines, a common practice of this artist. 

Four fine specimens are by the Pan Painter. On a 
beautiful column krater (fig. 81), Dionysos is represented 
walking slowly, in dignified, almost pompous, composure, 
followed by an attendant satyr. The god is evidently 


1Furtwangler-Reichhold, Griechische Vasenmalerei, pl. 6. 


oer OF VY CENTURY B.C. 123 


going to an important banquet, and even the wild satyr 
has caught the spirit of the occasion, and is carrying his 
master’s stool, his wine-cup, and his ivy-branch with a 
respectful, subdued air. We find the same dramatic touch 
and highly finished drawing on an oinochoé with Gany- 
mede (fig. 80) running away from a pursuing Zeus, and 
on an amphora with a kitharist represented stepping for- 


P “Mee yyyr7”F 
Rats 
> aa -* 


pr 


PiG.ol. -KRATER 
DIONYSOS AND A SATYR 


ward, his head raised in rapture over the music he is 
making. A cup with Theseus pursuing the Minotaur is a 
slighter work. The type of face—with long thin nose, 
slightly pouting lips, and firm, rounded chin—1s character- 
istic of this painter. 

Two kylikes by the Colmar Painter have attractive, 
animated scenes with warriors and banqueters. A leky- 
thos with a flying Hermes is attributed to the Painter of 
the Boston Tithonos. 

In Case O are several fine vases of small dimensions. 
An early piece is a kylix, on the middle shelf, with the 


Case O 


Case A 


Case J 


124 POU WH ROOM 


signature of the potter Hegesiboulos: EAESIBOLOs 
EP OIESEN (fig. 82). In the interior is an old man going 
for a walk with his dog, while on the exterior are scenes of 
revelers. Unfortunately the cup is discolored through 
burning. A lekythos has an attractive picture of an 
Athenian lady in her home. She is busy making skeins of 
wool, a tame bird is walking on the floor, and on the wall 
hangs her oil-bottle. It 
is one of the: besteoiea 
number of such. slight, 
dainty works by the Paint- 
er of the Bowdoin Box. 
On a fragment of an oino- 
choé is a satyr with jump- 
ing-weights, that is, pa- 
rading as an athlete, 
attributed to the Painter 
of the Harrow Oinochoé. 

Another small, attrac- 
tive vase, but unattrib- 
uted, is a toilet-box with a scene from the interior of a 
Greek house (Case A). A lady appears to be calling on 
her friends, and finds them busily occupied spinning and 
working wool. On the cover of the box is a beautiful 
palmette pattern. 

In Case J two fine vases deserve special notice. One is 
a large bell-krater, unfortunately rather fragmentary, with 
a representation of warriors; the other is an amphora, of 
splendid preservation, with Herakles carrying off the Del- 
phic tripod and Apollo swiftly pursuing the robber (fig. 
83). Both are works by the Kleophrades Painter, perhaps 
the most robust artist of this virile period. The figures 
have the bigness of conception and that curious detach- 
ment which distinguish this master’s work. The pursuing 


FIG. 82. SCENE FROM A KYLIX 
SIGNED BY HEGESIBOULOS 


Peete OF VV CENTURY B.C. 125 


Apollo, for instance, has a statuesque quality, heralding 
the Olympia pediments. The drawing, moreover, shows 
many of the stylistic peculiarities of this master, such as 
the large noses, the black-bordered lips, the projection for 
the lobe of the ear, and the hooked line for the ankle-bones. 
The amazing certainty with which the long lines of the 
folds in Apollo’s himation are 
drawn can be paralleled by few 
other painters. 

In the same case are an am- 
phora with a satyr pursuing a 
maenad and a lekythos with a 
- Nike carrying a prize hydria— 
fine, deliberate figures by the 
Providence Painter; also a column 
krater with Dionysos and a 
youth by the graceful but some- 
what affected Myson. Another 
Dionysos on a pelike is by the 
Geras Painter, the artist of the 
Louvre pelike with the remark- FIG. 83. AMPHORA 
able picture of Herakles clubbing Sor oye kane as 
old age. A kylix with a youth 
standing before an altar is attributed to Apollodoros. 
Though it is very fragmentary, we can still appreciate its 
rhythmical composition and lovely flow of line. The drap- 
ery with its long stacked folds and the nervous hand with 
its slender cushioned fingers are characteristic features. 

In Case G are two important vases—one is a lekythos Case G 
with a dainty Nike holding an incense burner, a beautifully 
composed work by the Dutuit Painter; the other a hydria 
with Herakles strangling the serpents, surrounded by his 
frightened family and his protectress Athena. The latter 
has been attributed to the Nausikaa Painter. 


Case Z 


Case X 


Archaic 
and 
Early 
Free 
Styles 


126 FOURTH. ROOM 


Further noteworthy pieces are in the cases on the west- 
ern side of the room. In Case Z is a krater with an attrac- 
tive orchard scene by the Orchard Painter (so called after 
this vase) and two kraters with pursuit scenes by the 
Painter of the Bologna Boreas. Two fine stamnoi in 
Case X, one with scenes from the Danaé story, the other 
with Eros pursuing Kephalos, illustrate the rather heavy 
but strong and vivid style of the Painter of the Deepdene 
Amphora. A krater by the Painter of the Girgenti Kalyx 
Krater is specially noteworthy for its subject—Herakles 
killing the Egyptian king Busiris and his attendants, who 
were preparing to sacrifice the hero at the altar. Herakles 
has seized one of the Egyptians by the shoulder and 1s bat- 
tering him with his club, so that the blood is streaming 
down his face. The others are fleeing right and left, 
carrying the paraphernalia for the sacrifice. An amphora 
and a hydria on the bottom of the case have single figures 
by the Syleus Painter, a conscientious, able artist with a 
good feeling for quiet posing. In Case V is an amphora 
with scenes of Apollo and Artemis, and of an athlete with 
his trainer, by the Eucharides Painter, which show his 
ample yet angular style. 

The second quarter of the fifth century witnessed the 
final emancipation by the Athenian vase-painter of all 
representational difficulties. He now learned to draw his 
figures correctly in profile and three-quarter views and in 
all sorts of new positions. His interest in such problems 
of foreshortening is shown by his frequent attempts to 
represent his figures in complicated attitudes. Neverthe- 
less, in vase-painting this epoch and the succeeding one of 
the second half of the fifth century B.c. do not mark the 
climax of achievement, as they doin sculpture. The finest 
work was done in the preceding period which we have just 
considered. The design quality of the decorations suf- 


Pere eeeiewdcy “OF V CENTURY B.C. 127 


fered rather than gained by the spatial sense now being 
introduced; and the most gifted artists appear to have 
been diverted to the field of panel or fresco painting. 
Naturally this change is only gradual. A number of “at- 
tributed’’ vases of this period have been placed in this 
room; and further (mostly unattributed) specimens will 
be found in the East- 
ern Colonnade of 
Wing K. The story 
is then continued in 
the Fifth Room of 
Wing J. 

in ase. VY "are 
three vases attrib- 
uted to the Pen- 
thesilea Painter—a 
cup with bearded 
men and youths and 
two cups with pur- 
suit scenes (satyrs 
and maenads, and | 
Eros and Kephalos). FIG. 84. DETAIL FROM A KRATER 


The paintings ait DIONYSOS AND HIS RETINUE 

the exuberant spirit 

and the facile, rather careless drawing characteristic of 
this artist. His three-quarter views of the satyrs front 
and back illustrate his complete mastery of foreshortening. 
Several other vases in this case are by imitators of the 
Penthesilea Painter. On the top shelf of Case Q is the 
neck of a large loutrophoros with representations of (a) 
two warriors and (b) an old man bidding a young warrior 
farewell by the Painter of the Brussels Oinochoai. An 
interesting detail is the realistic rendering of the old man 
with stippled beard and bald temples. The attempt to 


Casev 


Case Q 


Pedestal U 


Case V 


Pedestal Y 


Case W 


Case G 


Case M 


128 FOURTH ROOM 


indicate various planes in one foot of the bearded warrior 
on (a) shows the interest of the artist in the problems of 
the time. Two vases by the Villa Giulia Painter are 
beautiful specimens of the early fine style and reflect in 
some measure the lofty serenity of contemporary sculpture. 
The bell-krater (Pedestal U) is decorated with tall stand- 
ing figures in statuesque poses: Apollo, Artemis, and Leto 
on one side, and on the other an old man with two women. 
We note the able drawing of the eye with upper lid and 
eyelashes in correct profile view. On the stamnos (Case V) 
is a youth arming, surrounded by his family, another quiet, 
beautiful picture, but with little animation or imaginative 
interest. It is instructive to compare this scene with a 
similar one on a krater of the ripe archaic style (Pedestal Y) 
in which the same subject is treated much more graphically. 
How eloquent, for instance, is here the sorrowing look of 
the old father which suggests that the son is starting for 
battle. 

A large bell-krater in Case W is another good illustra- 
tion of the new monumental style in vase-painting (fig. 
84). The scene of the drunken Dionysos supported by 
a satyr and surrounded by his retinue of maenads and 
satyrs forms a striking contrast to the earlier representa- 
tions. Instead of the wild, merry troop we have dig- 
nified figures walking in solemn procession, as if for a 
religious ceremony. The painting has been attributed to 
the Methyse Painter called after a maenad on this vase in- 
scribed Methyse. 

Two finely preserved hydriai with scenes of Peleus pur- 
suing [Thetis (Case G) are by the Painter of the Chicago 
Stamnos. They are highly finished pictures, similar in 
style to those by the Villa Giulia Painter, but sprightlier, 
more graceful, and also less statuesque. 

On the top shelf of Case M (center) is a bell-krater by 


Peewee OF VY CENTURY B.C. 129 


the Danaé Painter. The chief scene represents a woman 
playing the lyre, while two of her companions stand before 
her in rapt attention. The artist has shown his originality 
in the unusual poses—one of the listeners stands with her 
hands on her companion’s shoulders in a charmingly affec- 
tionate attitude—and in the far-away 
expression. Such emotional pictures are 
rare and precious things in Greek vase- 
painting. Two good examples of the 
dainty work that was produced in this 
period are two vases (Case O) decorated 
by the Euaion Painter—ona kylix, asatyr 
cooking his dinner, and on a jug, two 
satyrs, with hands outstretched. The 
figures are painted with astonishingly 
fine lines in a graceful, precise style. 
Besides this red-figured technique, 
that of painting on a white background 
was likewise developed during the first 
hao beaitn century B.c. The 
earliest examples show an interesting os 
combination of the black-figured and FIG. 85. 
red-figured styles, some parts being WHITE LEKY- 
painted solid black with details incised, pee ee 
; ESCAPING WITH 
mh ones are teitin the white ground, 4545 weap oF 
with details painted in black. Our col- MEDUSA 
lection includes two excellent examples 
of this phase (Case S). One is a lekythos on which is a 
figure of Dionysos with a goat and a small satyr, the other 
a lekythos with a scene taken from the legend of Perseus 
and Medusa (fig. 85). Perseus has just cut off the head 
of the monster and is making his escape as quickly as 
possible, carrying his prize safely in a bag; from the neck 
of Medusa springs the winged horse Pegasos. The next 


Case O 


Vases— 
White- 
ground 


Case S 


Case P 


130 FOURTH ROOM 


period, in which the whole scene is drawn in black glaze 
lines, is illustrated on several small lekythoi, all with 
single figures. Soon the vase-painters got tired of the 
rather thin effect obtained by restricting themselves to 
black lines on the white ground, and to liven up their 


FIG. 86. COINS OF SYRACUSE 
AND OF AKRAGAS 


pictures they introduced solid washes in a variety of 
colors. This technique is shown in several lekythoi in 
this case, as well as in a pyxis (fig. 88), one of the finest 
of its kind known, placed in Case P. The representation - 


FG: a7. IMPRESSIONS 
OF ENGRAVED STONES 


on it is the famous judgment of Paris, at which Aphrodite 
won the prize for beauty Hermes is shown leading the 
three goddesses to the young shepherd. The scene is 
treated in a light, humorous vein, with many individual 
touches, which give it a special charm. The colors used 
are, besides the black glaze, diluted in places, brown, 
purple, and white. The effect of the whole is distinctly 


Peewee Or Ve CENTURY B.C. 13] 


pictorial and may give us some idea of the appearance of 
the larger paintings which are all lost. 

The art of engraving stones at this period is represented 
in our collection by several examples, chiefly from Cyprus 
(Case B). The most important is a carnelian with a 


FIG. 88. WHITE PYXIS WITH SCENE OF THE 
JUDGMENT OF PARIS 


beautiful representation of Eros carrying off a girl in his 
arms (fig. 87, center). Both in composition and in exe- 
cution it is a masterpiece of Greek art. Its style places 
it in the early fifth century. Other good Greek stones, 
likewise from Cyprus, are a chalcedony with Hades and 
Persephone (fig. 87, right), a plasma with a youth and his 
dog, a carnelian with Herakles, a carnelian with a winged 
female figure holding a flower (fig. 87, left), and a plasma 
with a man standing between two prancing horses. Several 


Engraved 
Stones 


Case B 


Coins 
Case R 


132 FOURTH ROOM 


pieces are of Etruscan workmanship inspired by Greek 
models. In accordance with the Etruscan custom the beetle 
on the back of the scarab is always carefully worked, and 
the edge of the base on which it stands is decorated with 
an ornamental pattern. How near to Greek work such 
Etruscan engravings sometimes came is illustrated in a 
carnelian with a young warrior stooping to pick up a hel- 
met. Good examples are also an agate with Kapaneus 
struck by Zeus’s thunderbolt, and two agates, lent by 
W. Gedney Beatty, with representations of a disk-thrower 
and Peleus. 

In the coins of this period (Case R) we note an artistic 
development comparable with that which distinguishes 
contemporary products. Our examples include many of 
the famous types, such as the Pegasos of Corinth and 
the owl of Athens, the latter rendered in a persistently 
archaic fashion. Among the finest examples are those 
of Syracuse (fig. 86), a city noted for the splendor of 
its coinage. The horses of the chariot group may be 
compared with our bronze statuette of a horse in the 
Eastern Colonnade (fig. 89). Other beautiful coins are 
the stater of Metapontum with an ear of grain—an al- 
lusion not merely to the fertility of the region but to 
Demeter, the city’s goddess—and the tetradrachm of Gela 
with a river god in the form of a human-faced bull. Inter- 
esting representations of animal life are the crab (fig. 86) 
and eagle of Akragas, the hound of Segesta, the bound- 
ing hare of Messana, the wild boar of Methymna; all es- 
sential details are given (even to the denticles on the crab’s 
claws) but they never obscure the design of the whole. 

To reach the Eastern Colonnade of Wing K, where 
further objects of this period are exhibited, the visitor 
must pass through the northern door and walk across the 
Vestibule. 


Pecan vy HALF OF V CENTURY B.C. 140 


To show both the relief and the engraving, the relief has 
had to be mounted on a separate modern disk. The relief 
shows a male figure, identified by the lion’s skin tied under 
his throat as either Herakles or Theseus, in violent struggle 


FIG. 103. BRONZE MIRROR 


with a woman; though fragmentary, enough remains to 
show the beauty of the modeling and the spirited com- 
position. The engraved design represents Herakles and 
Atlas. Herakles has placed his club and quiver on the 
ground, and is on the point of taking the weight of 
heaven from Atlas. 

The fourth mirror of this period has on its cover an a 
jour relief of a conventional floral pattern (see tail-piece, 
p. 166). Both the design and the execution are very fine, 


Bronzes— 
Miscella- 
neous 


Pedestal W 


Pedestal Y 


150 FIFTH ROOM 


Every leaf and petal is modeled minutely, but without im- 
pairing the freedom and animation of the whole. 

A round ornament with the contest of a youth and a 
criffin is another good example of bronze repoussé relief. 
The strain of the combat is well represented in the tense- 
ness of the muscles, and the composition is skilfully de- 
signed to fill the round space allotted to it. 

In the same case have been placed a number of other 
bronze decorative pieces and a few utensils; among the 
latter is a strigil, the instrument used by Greek athletes for 
scraping the dust and oil off their bodies. (For other ex- 
amples see the exhibition of Greek and Roman life, D 9.) 

One of the most popular games in Athens appears to 
have been the “kottabos.”” We see it represented in many 
vase-paintings, and a number of specimens of the imple- 
ments used to play it have been preserved; one of these is 
included in our collection (east wall, Pedestal W). It 
consists of a shaft terminating at the top in a male figure 
balancing a disk, while another disk is inserted about half- 
way up the shaft. The object of the game was to throw 
a small quantity of wine from a cup at the top disk, dis- 
lodge it, and make it fall on the lower disk, thereby pro- 
ducing a resounding noise. The cup from which the wine 
was thrown was of the kylix shape and was held by insert- 
ing the first finger in one of the handles. The game ap- 
pears to have been in vogue from the sixth to the third 
century B.c. Our implement can be dated to the fifth 
century from the style of the statuette. 

A tall candelabrum, of Etruscan execution, is placed 
against the same wall on Pedestal Y. It consists of a 
slender shaft, surmounted by a short, moulded stem on 
which is the figure of an athlete. From similar examples 
we know that between the statuette and the moulded 
stem there were originally spikes for the attachment of 


iene OF VY CENTURY B.C. I5I 


candles. How the candles were fixed on such spikes is 
illustrated in an Etruscan painting.’ 

A terracotta piece of this period requires special men- 
tion. It is a small mould for the lower part of a male 
figure (Case F). The modeling is excellent, every detail 


FIG. 104. BRONZE MIRROR 


being rendered with great care, and there is the same large- 
ness of treatment as in the best works of a more ambitious 
nature. On the back of the mould can be seen the finger- 
marks of the potter, impressed while the clay was still soft. 

We have seen that by the middle of the fifth century 
Athenian vase-painting entered a new phase. The period 
of archaisms and experiments and strenuous endeavor was 


1See Daremberg et Saglio, Dictionnaire des Antiquités, I, fig. 1086. 


Terra- 
cottas 


Case F 


Vases 


Vases— 


Red- 


figured 


Early 


Free Style 


Cases 


Ket 


152 Fo Foal He R-O:0m 


definitely over, and one of easy accomplishment was at 
hand. The artist no longer finds it difficult to represent 
the human figure in action or at rest in whatever attitude 
he wishes to place it; the laws of perspective have become 
familiar and are easily applied. By this new knowledge 
Greek vase-paintings at last convey the impression of the 
third dimension and thereby come nearer to a painting in 
the modern sense of the word than they ever did before. 
But unavoidably they lose also in carrying power as design. 
And since pots are more appropriately ornamented with 
designs than with paintings, the decorative effect of the 
whole is impaired. We have noted these changes on some 
of the vases in the Fourth Room. The examples in this 
room carry these qualities still further. 

The vases attributed to known painters of this period 
are assembled chiefly in Cases J and K. Two beautiful 
examples are by the Painter of the Boston Phiale, an artist 
distinguished for his harmonious poses and his vivid ren- 
dering of action. On a tall lekythos (Case J, top) is a 
scene of Poseidon pursuing Amymone, the latter identified 
by the jug with which she has set out to get water at her 
father’s bidding. Her attitude and the treatment of the 
drapery are not unlike the “Iris” of the Parthenon, and 
were evidently an accepted pose of the time for rapidly 
moving figures. It combines in an extraordinary way the 
feeling of motion with a statuesque quality. 

Another lekythos in Case L with a scene of a youth and 
women is a good example of this artist’s work in a quiet 
vein. In the same case is a lekythos by the Achilles 
Painter, so called after one of his chief works, the amphora 
with Achilles in the Vatican. His pictures consist gen- 
erally of one or two figures in quiet poses with very little 
action, doing the obvious things of every-day life, but with 
a repose and serenity which give them a monumental 


is hy 2 


eee eee OF V CENTURY B.C. 153 


quality. [hey have in fact the same simple, lovely spirit 
as the grave reliefs of the period. The scene on our leky- 
thos—a woman offering a phiale to a bearded warrior— 
is a typical example of his style also in the rendering of 
details. The decorated 
thick tunic worn by the 
warrior occurs on several 
other pictures by. this 
master. 

Several works by the 
Meletos Painter, a close 
associate of the Achilles 
Painter, are placed in 
Case J] (middle and bot- 
tom). His pictures often 
approximate those of his 
master, but they lack the 
latter’s sculptural quali- 
ty, the figures being stiff 
rather than self-com- 
posed. Moreover, his 
line is less delicate, as is 
evident particularly in 
the drawing of the hands. 
That, however, he could 
portray motion in a way FIG. 105. AMPHORA 
that the Achilles Painter WARRIOR TAKING LEAVE OF HIS 
at least never attempted, Cana 
can be seen on our Nolan amphora (middle shelf, right) 
with a vivid rendering of Eos pursuing Tithonos (or 
Kephalos). A lekythos has a quieter picture of a 
woman pouring a libation for Athena. On a sturdy 
bell-krater a Nike is greeting a young huntsman on one 
side, while on the other a long-haired man is conversing 


PedestalV 


Pedestal S» 


154 FIFTH ROOM 


with an old soldier. The face of the latter is painted with 
a realism remarkable for this period, even the wrinkles 
around the eyes being indicated. A bell-krater with a 
kitharist playing to an audience 1s attributed to Polygnotos 
(top, left). He is standing quietly striking the strings of 
his instrument, completely absorbed in his playing. And 
he has carried his listeners with him. One of them is 
sitting on a chair, a far-away look on his face; the youth 
behind him raises his hand in appreciation; another is 
standing very quietly behind the player. It is a beautiful 
rendering of response to music, finely felt and expressed. 
And yet when we compare it with the kitharist of the Pan 
Painter, we feel that much of the old life and vigor has 
departed to give place to this quiet solemnity. On a 
krater in Case X 1s a representation by the Marlay Painter, 
in its quiet spirit akin to the Parthenon frieze. 

One of our finest examples of this period is an amphora 
on Pedestal V. It is decorated with a scene of a young 
warrior, named Neoptolemos, bidding farewell to his family 
(fig.105). His father, Antiochos, is holding his son’s hand; 
while Kalliope, the wife or mother, is about to pour the 
parting libation. ‘The picture has a feeling of quiet pathos 
which gives the old familiar subject a new significance. 
It is one of the most important works by the Lykaon 
Painter and fortunately very well preserved. In spite of 
the “heroic” style we note a meticulous rendering of de- 
tails such as toe nails, finger nails, and the iris as distinct 
from the pupil of the eye. 

Another representative vase of this period is a krater 
mounted on Pedestal S2 with a representation of Kadmos 
and Harmonia, largely conceived but with little of the 
early animation. 

Besides this “monumental”’ style used generally on the 
larger vases, there was developed, in the later part of the 


Seton ALF OF V CENTURY B.C. 155 
fifth century, a delicate, graceful style for which vases of 
smaller dimensions were preferably chosen. In these the 
fineness and richness of line-drawing reach their climax. 
The folds of the soft clinging chitons are depicted in very 
thin, delicate lines, and the attitudes and compositions 
show a dainty elegance. Jo add to the richness of the 
effect, the hair was now often drawn in single wavy locks 


FIG. 106. SCENE FROM AN OINOCHOE 
WOMEN FOLDING AND PERFUMING CLOTHES 


on a background of diluted glaze, and on the later vases 
the figures are often distributed on different levels over the 
whole surface of the picture. The chief name associated 
with this style is the Meidias Painter who decorated the 
famous hydria signed by the potter Meidias in the British 
Museum. A beautiful example (Case O; fig. 106) attrib- 
uted to this artist is an oinochoé with two women in 
richly embroidered garments, perfuming and _ folding 
clothes. It is one of the daintiest, most delicate paintings 
we have. Refinement of line and of composition could 


go no further. Unfortunately, the appearance of the ° 


Vases— 
Red- 
figured— 
Kipe ree 
Style 


Case O 


Case K 


150 FIFTH ROOM 


picture is somewhat spoiled by the bad preservation of the 
black glaze. 

In the same case are several vases which show Meidian 
influence. Such are a sadly mutilated hydria with a scene 
of Thamyris, the famous Thracian lyre-player, surrounded 
by the muses whom he has summoned to a musical contest; 
a pyxis with a young girl balancing a stick; a lekythos with 
a picture of a youth paying court toa lady; anda “lekane”’ 
or covered kylix with a scene of a bride receiving gifts from 
her friends. An interesting subject will be found on a 
kotyle or deep cup, in the same case, upper shelf. A 
woman is here represented with a gilt basket on her lap, 
surrounded by other women, an Eros, and a satyr. The 
presence of a satyr in a scene with Athenian women is 
unusual and suggests that it is to be connected with the 
Dionysiac festival—one of the most important celebrated 
in Athens—at which we are told “well-born maidens car- 
ried baskets made of gold in which they placed first-fruits 
of all kinds.’”’! (A similar gilt basket occurs on an oinochoé 
in Case E representing Dionysos, “ Procession,’ and Eros; 
so that the identification of the basket as one carried in 
processions seems assured.) 

A favorite shape at this period is a vase on a high foot, 
with double handles, probably to be identified with the 
“lebes gamikos”’ or marriage-vase (Case K). What its 
original purpose was is uncertain. Two fine examples are 
in our collection. On both is represented the Epaulia, 
the day after the wedding, when it was customary for the 
family and friends of the bride to go in procession to 
the bridal pair, bringing their gifts. On each of our vases 
the bride is seated in the center of the picture playing 
on the harp, while from each side approach the gift-bearers. 
Beneath the handles is the customary figure of the goddess 


1Aristophanes, Acharnians, 242. 


Peewee AL reGR V CENTURY B.C. 157 


Of Dawn; for the ceremony took place in the early morning. 
Though both these pictures are carefully painted, that on 
the larger vase is by far the finer (fig. 107). Not only is 
the drawing very delicate, but the artist has succeeded in 
imparting to his scene an atmosphere of solemnity which 
distinguishes it from the average representations. There 
are few more finely felt figures in vase-painting than the 
bride looking up with wonder at the little Eros who has 
come to bring her his gift. It should be noticed that 


FIG. 107. SCENE FROM A MARRIAGE-VASE 
BRIDE RECEIVING GIFTS 


while the principal figures on this vase are drawn with 
great care, those at the back and on the foot are painted 
in a poor, thoroughly conventional style—a not unusual 
proceeding in Athenian vases. This vase has been attrib- 
uted to the Washing Painter by whom are also a hydria 
in this case with a woman having her sandal adjusted by 
Eros, and one in Case U with a bride before the wedding. 
Another hydria in Case J (bottom), also with women, is 
attributed to the Orpheus Painter; a particularly attrac- 
tive figure is a lady spinning. A hydria in Case X 
has women holding chests and mirrors, one inscribed 
XPYSIS $IAE, “dear Chrysis.”’ It is ascribed to an 


Cases Li, 
Six 


Case O 


Case K 


Case N 


158 FIFTH ROOM 


artist named after this vase, the Painter of the Chrysis 
Hydria. 

We have seen that most of the subjects on vases of the 
graceful style are taken from the life of women; for it is 
in these that the artists of this school found their best 
opportunities for depicting what their hearts delighted in 
—dainty, graceful poses, and soft, rich draperies. But 
mythological subjects, though not so frequent, also occur. 
On a hydria in Case O is a 
representation of the story of 
Poseidon and Amymone. 
Amymone, the daughter of 
Danaos, is seated in the center 
with the water-jar with which 
she went out to fetch water. 
The satyr who attacked her 
is escaping to the right, while 
on the other side 1s her rescuer, 
the god Poseidon. The Eros 
between them suggests the 

CHILDREN Cree advantage which the god took 
DIONYSIAC PROCESSION (?) of the situation. The return 
of Hephaistos to Olympos, on 
an oinochoé in Case K (upper shelf), is another interesting 
mythological scene, as well as a masterpiece of delicate 
drawing (fig. 109). Dionysos had been commissioned by 
the gods to bring Hephaistos back to Olympos, so that 
he might release Hera from the throne to which she was 
chained. Dionysos succeeded by first making Hephaistos 
drunk. Here the two gods are depicted riding on a 
donkey, preceded by a gay little satyr and a seilenos 
playing the flutes. On the same shelf is a small hydria 
with the rare subject of Poseidon welcoming Theseus. 
Anumber of diminutive oinochoai, placed in Case N, were 


FIG. 108. TOY OINOCHOE 


eee eetew re OF V CENTURY B.C. 1509 


probably used as children’s toys; for many are decorated 
with scenes of children at play, and we know that vases of 
this type have been found in children’s graves. Most 
interesting of all is a beautifully preserved little specimen 
decorated with what appears to be a representation of 
children at a Dionysiac festival (fig. 108). Three are 


we 
A yon 
(SESS 


is 


Tes NST SIE STI 


FIG. 100. SCENE FROM AN OINOCHOE 
THE RETURN OF HEPHAISTOS TO OLYMPOS 


carrying a tall stand with hanging fillets while others 
are engaged with a cart in which an image of Dionysos 
is seated in a chair. Perhaps it is a picture of children 
acting out the ceremonies they have seen at a Dionysiac 
festival in which a maypole and the yearly return of the 
wine-god were prominent features. On the same analogy 
as these oinochoai we may explain also as toys several 
other diminutive vases in this case—among them a mar- 
riage-vase. The subject on the latter is the same as that 
on the larger specimens described above, viz., the bringing 
of gifts to the bride the morning after the wedding. We 


Cases X,U 


Vases— 
Red- 
figured— 
Late Style 


Case E 


160 FIFTH ROOM 


may imagine that this vase was used by the Greek 
children at the weddings of some of their dolls. Less 
careful or less well-preserved specimens of this period 
have been placed in Cases X and U; though here too 
several fine pieces are included, such as a stamnos with 
women ladling wine (Case X, center). 

It will be noted that on 
some of the diminutive 
vases in Case N white and 
other colors are freely 
used. The introduction 
of this florid style marks 
the beginning of the de- 
cline of Athenian vase- 
painting, which set in at 
the end of the fifth cen- 
tury. The Athenian vase 
industry had owed its phe- 
nomenal success largely to 
its extensive export trade, 
particularly to Italy; and 


FIG. 110. OINOCHOE WITH when political changes in 
ce +9 
DION 208i 29 ROCESS Italy and the long-drawn- 
AND EROS 


out hostilities of the 
Peloponnesian war cut off this commerce, Athenian pottery 
received a severe blow. But the manufacture of vases 
lingered on during the fourth century for the supply of 
home needs and some foreign markets, such as Kerch in 
the Crimea. For the sake of convenience these late 
Athenian products are also exhibited in this room. 

Our best example of this late style is the oinochoé in 
Case E (fig. 110) with Dionysos, “Procession”’ (inscribed 
POMPE), and Eros. The picture is drawn with such 
delicacy and with such copious additions of white, pink, 


ieee lf SOF V CENTURY B.C. I6I 


and gold that it resembles a miniature painting rather 
than a vase decoration. Asa pot it is also a remarkable 
product. The walls are so thin and the edges so sharp 
that it seems more like a metal than a clay vase. 

A number of other examples of this late style will be 
found in Cases A, D, S. An amphora with a combat of 


PiGae lle WHITE: LEKY THO! 


Greeks and Amazons, on the bottom of Case S, has its 
colors fairly well preserved. The three vases with angular 
handles on the top shelf of Case A are not Athenian, but 
Messapian (South Italian) products, showing Greek in- 
fluence in the ornamental bands. 

Side by side with the red-figured technique, painting on 
a white engobe continued in favor, especially for a certain 
class of lekythoi, apparently used exclusively as offerings 
to the dead. The figures were, as before, painted in out- 
line, in either glaze or dull color, and solid washes were used 
for the garments and other details. Often these solid 


Cases 
Ass 


Vases— 
White- 
ground 


Case R 


Cases P,Q 


102 > FIFTH ROOM 


colors have mostly or even completely disappeared, leaving 
only the outline drawing. 

Our collection includes a good series of these lekythoi 
(Cases R, Q, P), in which a gradual development can be 
observed. The earlier examples belong to the years 1m- 
mediately preceding and following the middle of the fifth 
century, and have the diluted black glaze used either for 
the outlines of the figures, or for the palmettes on the 
shoulder of the vase (Cases R and Q). Here we find the 
same simplicity and dignity that we noted in contempo- 
rary red-figured vases, while technically, both in quality 
of the white slip and in delicacy of execution, they 
show the high-water mark of this style. Four lekythoi 
(Case R, top shelf) are among the best productions of this 
kind (fig. 111); they are closely allied in style to the red- 
figured lekythos in Case L by the Achilles Painter. Some 
of the other paintings can also be ascribed to individual 
artists,’ just as in the red-figured vases. Most of the scenes 
on such vases show the departed and their relatives in the 
house or at the tomb.” An interesting subject is a “pro- 
thesis’’ scene, the laying-out of the deceased, with mourn- 
ing women tearing their hair. On another lekythos is 
a seated youth receiving or giving an apple to a woman; 
the unusual experiment is here tried of painting the flesh 
of the youth in color. 

Another series of white-ground lekythoi, in part slightly 
later than the preceding, shows the drawing entirely in 
dull color (P and Q). The solid washes are generally 
confined to one or two shades, preferably red and black. 
Sometimes, however, especially in the examples of the last 
two decades of the century, as many as four or five colors 


*Cf. Buschor, Miinchner Jahrbuch der bildenden Kunst, 1925, pp. 14 fi. 
That the departed is represented as the chief mourner at the grave 
has been shown by Buschor, op. cit., pp. 1off. 


Peep Lr OF V CENTURY B.C. 163 


are employed, and a gay, highly decorative effect is pro- 
duced thereby. We may note an especially fine example 
lent by Albert Gallatin (Case P, bottom shelf). The 
subjects of the scenes are confined almost entirely to 
mourners at the tomb, among whom 
the dead regularly appears, some- 
times seated on the steps. Several 
of our vases show variations of this 
theme: one has a man and a woman 
clasping hands; on two, Hermes is 
escorting the dead to Charon’s boat; 
on another, a mother accompanies her 
child on the last voyage (fig. 112). 
The child is standing on the bank, 
dragging his toy cart at his side; he 
is beckoning a last farewell to his 
mother, who is wrapped in her hima- 
tion. Charon stands expectantly at 
the prow of his boat, ready to ferry 
the little newcomer across to the abode 
of the dead. 

It is noteworthy that in these rep- 


resentations dealing more or less eae Fe 

: i 5 : WHITE LEKYTHOS 
S 

directly with death, there is oe COLE yaoi ef ale Pee spear a 

restraint in expressing grief for the APPROACHING 


departed. Prothesis scenes with the | CHARON’S BOAT 
laying-out of the deceased and with 
women tearing their hair are exceptional. Mostly, sorrow 
is implied rather than depicted, or shown only in the 
sadness of the mourners. It is the same feeling of reserve 
that we notice on contemporary and fourth-century grave- 
stones (see p. 258), which is characteristic of the Greek 
love of beauty as against realism in art. 

The art of engraving stones reached its height in the 


104 FIFTH ROOM 


Engraved Second half of the fifth century. Our collection includes 
Aone several good pieces (Case H). The favorite shape em- 
ployed is the scaraboid, which is generally large and thick 

and is perforated lengthwise, so as to 
be worn on a swivel either as a pend- 
ant or on the finger; but other stones 
also occur. A fine example of a 
scaraboid is a carnelian engraved on 
one side with a crane, on the other 
with a nude woman standing by a 
wash-basin. A burnt chalcedony has 
an unusual subject—a man _ holding 
FIG. 113. aloft the garment of a woman who 
pete oe crouches in front of him (fig. 113). 
The composition gives an extraor- 

dinary effect of space, and the figures, small though they 
be, have an almost sculptura! quality. Animals are pop- 
ular subjects. Our specimens include representations of a 
lion, astag, another crane, a dog, a bull, and a horse. On 
the stone with the horse is inscribed 
STHSIKPATHS, Stesikrates, prob- 
ably the name of the owner. Several 
Graeco-Persian gems show an inter- 
esting mixture of Greek and Persian 
elements. They were evidently made 
by Greeks for Persians, the subjects 
being Persian, the style and execution 
wholly Greek. A chalcedony with a 
Persian lady and an agate with a Per- 
sian warrior are characteristic examples. A rectangular 
agate with a Persian horseman spearing a boar and ani- 
mals on the faceted sides is a loan from the American 
Numismatic Society. Two others are lent by Edward T. 
Newell, one an exceptionally fine chalcedony cylinder with 


FIG. II4. 
COIN OF AKRAGAS 


FIG. 89. BRONZE STATUETTE OF A HORSE 


Case H 


134 EASTERN COLONNADE OF WING K 


EASTERN COLONNADE OF WING K 


A number of conspicuous examples of this period are 
placed in this section where the spaciousness of the sur- 


FIG, 90. FRONT VIEW 
OF BRONZESSI ALU iis 
OF A HORSE 


roundings perhaps helps our 
enjoyment of them. Foremost 
among them is a large bronze 
statuette of a horse (figs. 89-91), 
artistically probably the most 
important single object in our 
classical collection (placed in 
the center of the colonnade, 
Case H). The horse is without 
rider and is represented walk- 
ing with head erect. It is well 
preserved, the only serious loss 
being the tail, which we con- 
sciously need to complete the 
harmonious composition. It is 
difficult to describe in words 
the beauty of this piece; for it 
sums up, in a way, the beauty 
of Greek art. If we can an- 
alyze it at all we may say that 
the composition is singularly 
rhythmical, and the modeling 
has just that combination of — 
realism and stylization which 
cives Greek art of the first 


half of the fifth century its distinctive character. For 
the modeling is naturalistic, or almost so, but it is sim- 
plified, with no detail allowed to obtrude itself; and it 
is stylized. The result for us is an astonishing combina- 


tion of vivacity and rest. 


The horse is full of anima- 


Peers OF V CENTURY B.C, 135 


tion. We feel it particularly in full-front view when he is 
marching gaily toward us. There is here no abstraction 
of a horse conceived merely as a decorative scheme, but 
a living animal with a body that can function. And yet 
it is much more than a living animal. The artist’s dec- 
orative conception has endowed it with that additional 
quality which is so essentially Greek—a quiet beauty 
which removes it from 
the individual to the 
typical, from the per- 
sonal to the imper- 
sonal, and which 
makes it so curiously 
restful compared with 
later creations, even 
with such master- 
pieces as Colleone’s 
horse by Verrocchio, 
Donatello’s Gattame- 
lataae ore the. Degas 
horses. We may date 
it about 480-470 B. C., FIG. QI. DETAIL OF BRONZE 
midway between the STATUETTE OF A HORSE 
Akropolis horses from 

the Persian debris (Nos. 700 and 697) and the horses from 
the Olympia pediments. Whether it originally formed 
part of a chariot group or had a rider it is now impossible 
to say. The hole part-way down the neck suggests that 
there was a bridle and the rendering of the mouth shows 
that it was being pulled by reins. 

A bronze hydria (fig. 94), another first-rate piece of this 
period, has been placed temporarily in the Northern Col- 
onnade (Case F). It was highly esteemed also in an- 
tiquity, for it has an inscription, in Argive letters of about 


Northern 
Colonnade 


Case F 


1330 EASTERN COLONNADE OF WING K 


460-450 B.c., stating that it served as a prize at the 
games of the Argive Hera. Though there are many 
beautiful Greek water-jars, this may be pronounced as 
probably the finest. Fortu- 
nately it is in excellent preser- 
vation and we can enjoy it 
today in every detail just as 
the Greek artist made it; only 
the color is different, for it 
has assumed a lovely blue- 
ereen patina. ‘The shape has 
the sturdy yet harmonious 
FIG. 92. STAMNOS proportions prevalent at this 
period, and the decoration 
is kept very simple, to conform with the quiet dignity of 
the form. The only ornaments are a tongue pattern on 
the shoulder, single palmettes and rosettes on the handle 
attachments, and a pro- 
tome of a woman rising 
above the finely curved 
vertical handle—the lat- 
ter a valuable example of 
presumably Argive sculp- 
ture, The swore iso 
great precision and finish. 
We may note particularly 
the delicate modeling of 
the individual leaves of 
the palmettes and rosettes FIG. 93. HYDRIA 
and the incisions for 
the hair. Another source of delight is the beautiful 
interrelation of all the parts. The symmetry and pro- 
portion of Greek design could find no more adequate ex- 
pression. 


SODUV LV SAWVD AHL WOUNA AZINd V 
VINGAH AZNOUd ‘VO ‘Ols 


Eastern 
Colonnade 


Case A 


Case B 


1380 EASTERN COLONNADE OFS 


In the other cases of the Eastern Colonnade are a num- 
ber of bronzes, vases, and terracottas which deserve special 
notice. In Case A is a krater with interesting scenes of 
Herakles visiting the Lower World, and the punishment 
of Tityos by Apollo and Artemis. On a beaut fully pre- 
served hydria of the end of the sixth century are two 


yun I 


4 4 y di ee) 
i> poor ewe a 


FIG. 95.. SCENES FROM A KRATER 
BATTLE OF LAPITHS AND CENTAURS 
BATTLE OF GREEKS AND AMAZONS 


youths contesting with spears and shields to the music of 
the flute (fig. 93). An amphora has a scene of consider- 
able historical interest—a Greek warrior attacking with 
his long spear a Persian soldier, who holds a-:sword and 
a bow. It will be remembered that it was to the su- 
periority of Athenian spearsmen over Persian archers 
that the Greek victory at Marathon was largely due. A 
fine example of the early free style is an oinochoé with 
three Amazons starting for battle. (For one of the Ama- 
zons see tail-piece of Introduction, p. xxii.) 

Case B contains several moulded vases in the form of a 
horse’s head, a bull’s head, a duck, a lobster’s claw, and 


FIG. 960. KRATER 
BATTLE OF GREEKS AND AMAZONS 


FIG. 07. KRATER 
HORSEMEN 


140 EASTERN COLONNADE OF 3 


the head of a woman. The technique of moulded vases 
went on side by side with that of the thrown vases; but it 
never became a mechanical output, for rarely more than 
one specimen appears to have been made from one mould. 
A dainty alabastron orna- 
mented with palmettes is 
the gift of Welles Bos- 
worth. It is inscribed: 
“Hipparchos [is] hand- 
some indeed.” Another 
piece of great charm is a 
vase in the form of a 
group of cockle-shells in- 
scribed “handsome youth 
indeed.” -.-The ‘shells; are 
astonishingly naturalistic, 
with the ridges and mark- 
ings beautifully rendered. 
On the bottom of the 
case is a bronze lion-head 
spout with remains of the 
leaden pipe, found in Cy- 
prus and part of the Ces- 
nola Collection (for its 
companion piece see No. 
FIG. 98. BRONZE MIRROR 5016 in Gallery D 14). 
It was used as a model for 

the spout of our fountain in this court. 
Two magnificent red-figured kraters have been placed 
CasesE,K in Cases E and K. Their size and splendid proportions 
make them impressive examples of Athenian pottery. In 
the scenes represented—combats of Lapiths and centaurs 
and of Greeks and Amazons (Cases E and K; figs. 95 
and 96) the artist has seized the opportunity of depicting 


Poteet ink OF V CENTURY ‘B.C, I4] 


every kind of foreshortening and contortion. In one in- 
stance he has gone so far as to represent an Amazon on 
horseback in full-front view. In this, as in several other 
figures, he came to grief; but his enterprise and boldness 
are attested by the fact that he dared try such problems 
—never before attempted in the history of art. In both 
these compositions we note that instead of putting his 
figures all on one level, he placed some higher, some lower, 


FIG. 090. TERRACOTTA RELIEF 
PHRIXOS ON THE RAM 


the ground being indicated by undulating lines. This in- 
novation is said to have been introduced by the great 
painter Polygnotos, and it is very probable that the potters 
copied this point from contemporary paintings. 

The Greeks, like the Egyptians, used polished bronze for 
their mirrors. They had several types which they deco- 
‘rated in various ways. Our examples of this period are 
placed in Case N. Two are of the form of a disk supported 
on a stand in the shape of a statuette, with a number 
of other ornaments introduced. One, of rare complete- 
ness, was given to the Museum by J. Pierpont Morgan 
(fig. 98). The stand on which the disk is mounted is in 
the form of a female figure wearing a Doric chiton. On 


Case N 


142 EASTERN: COLONNADE (O33 yao 


each side of the attachment connecting the disk with 
its stand are two flying Erotes, and along the edge of the 
disk are two hounds pursuing a fox and a rabbit; a siren 
forms the crowning member. The richness of this decora- 
tion can best be judged when it is compared with another 
specimen in the same case, in which some of the ornamen- 
tal motives have been lost and which looks rather bare in 
consequence. A statu- 
ette of a bearded male 
figure was once part of 
a mirror of this type. 
By the middle of the 
fifth century another 
form of mirror became 
popular, namely, the 
disk with ornamented 
cover, designed to be 
held in the hand. The 
example in this case is 


FIG. 100. TERRACOTTA STATUETTE decorated on its cover 
EUROPA ON THE BULL with a relief of a female 


head in profile. The 
rendering of the eye is neither in full front as on archaic 
reliefs, nor yet wholly in profile. Two decorative bronze 
strainers show the good taste in household utensils as well 
as the use of bronze for all manner of utensils for which we 
now employ other materials. ‘Two fine terracottas should 
be noted. One is a relief of Phrixos on the ram (fig. 99). 
Phrixos, a splendid, youthful figure, has seized the ram 
by the horns and thus flies to safety over the sea. The 
water is indicated by wavy lines and the presence of two 
fishes. A statuette of Europa riding on the bull (fig. 
100) over the sea to Crete is another charmingly direct 
and simple rendering of a familiar story. 


meteweeeaee OF V CENTURY. B.C. 143 


A number of bronze and terracotta vases of rather 
large dimensions are placed on separate pedestals in this 
colonnade (cf. figs. 92 and 97). Their study will illustrate 
better than many words the feeling for form and com- 
position which distinguished Greek potters. Two large 
bowls, one in bronze, the other in terracotta, will be found 
in Case P; also a beautifully preserved krater with a scene 
of Orpheus among the Thracians. 


To reach the Fifth Room, the visitor must return to the 
Vestibule and walk through the “Sardis Room” at its 
western end. 


Re 
WY 
} 


{ H yV¥ WN 
AN NY as N ‘y 
N\ NF EN RIN’ 
SQN A AN 


FIFTH ROOM 


SECOND HALF OF V GENT Uist 


Ga E full fruition of the great events which took place 
in the early fifth century did not come until the middle and 
second half of that century. Especially in Athens epoch- 
making changes had taken place. She had founded an 
empire by converting the Delian confederacy into a league 
of states subject to herself, with its fleet an instrument of 
her power and its treasury at her disposal. Increase of 
trade had brought her additional wealth, which meant 
more leisure and greater opportunities to many of her citi- 
zens. The state was further democratized so that every 
citizen took a direct share in the government of his coun- 
try; and this in its turn raised the general intelligence of 
the community. Thanks to the rapid progress of the pre- 
ceding period, Greek art had now reached its maturity. 
The occasion for great achievements had come, and with 
it fortunately came great men. Perikles rose as a distin- 
guished statesman, as a leader of the people, and as a 
patron of the arts. The rebuilding of the temples and 
porticoes sacked by the Persians was undertaken on a 
magnificent scale, and Pheidias, the greatest of Greek 
sculptors, was made chief overseer of all artistic under- 


eevee OF VY CENTURY B.C. 145 


takings. The most famous of these buildings is the Par- 
thenon, which even now, in its mutilated and fragmentary 
condition, is still accepted as the highest standard of art, 
both in architecture and in sculpture. In Pheidias, in- 
deed, the high promise of 
Greek art found its fulfilment. 
He expressed in his work the 
idealism of his age, and to 
dignity and simplicity of con- 
ception he added a perfect 
technique. But though he is 
the greatest exponent of the 
idealistic art of his age, he does 
not stand alone. Of many 
of his contemporaries we know 
little more than their names, 
but the praise bestowed on 
them by the people who saw 
their works makes us realize 
our loss. And many a name- 
less artist or artisan whose 
work is preserved to us today 
shows in spirit and execution 
how widespread the influence 
of the great masters had be- 
come. Nor was artistic pro- 
duction confined to Athens. a peghcop ree queers 
Polykleitos, the Argive sculp- = statueTTE OF A YOUTH 
tor, was hardly second in 
fame to Pheidias. The differentiation, in fact, of Greek 
art into a number of separate schools continued to be one 
of its marked characteristics, giving it variety and life. 
The Peloponnesian war, the life-and-death struggle be- 
tween the two great rivals, Sparta and Athens, broke out 


Marbles 


Case i 


Pedestal G 


Bronzes— 
Statuettes 
Case M 


140 FIFTH ROOM 


in 431 B.c., and was not brought to a conclusion until the 
year 404. It resulted in the breakdown of the Athenian 
empire and the reduction of Athens to a second-rate power. 
The effect which this change had on art will be seen in the 
succeeding epoch; for the influence of historical events 
often takes time to find expression, and just as the Peri- 
klean age is the artistic echo of the war for Greek liberty, 
so the fourth-century art is to some extent moulded by the 
events of the last quarter of the fifth century. 

The marble sculptures of this period, of which the 
Museum owns several examples, are mostly exhibited in 
the Central Hall and are described on pp. 243 ff. 

The large gravestone placed against the east wall (Case 
T), though it dates from the early fourth century, retains — 
much of the fifth-century grandeur. It is described on 
pp. 2506ff. 

A small marble torso of a youth (Pedestal G), bequeathed 
by Richard B. Seager, is a good Roman copy of an original 
of this period. It is a lovely example of quiet, restrained 
modeling. A fragment of a marble inscription (Case F) 
has great historical interest. It is part of a tribute list 
(other fragments exist elsewhere) recording the payments 
to Athens by the members of the Athenian confederacy. 
Our piece lists the assessments of Paros, Naxos, Andros, 
Melos, Eretria, and Thera. The date is 425 B.c., when 
the Peloponnesian war had lasted six years and Athens 
was sending out the first Sicilian expedition. She was 
beginning to be hard pressed and we note that the tributes 
are double the amounts of former times. 

Several important bronze statuettes belong to this 
epoch. One of a youth, from Cyprus (Case M; fig. 
101), shows a close affinity to the style of Polykleitos. 
Both the pose and the proportions of the body—such' 
as the square build, the short thighs, and the flatness of 


Merete nkak OF Vo CEN DEURY -B.C. 147 


the abdominal region—are characteristics of that sculp- 
tor, as are also the shape of the skull and the treatment 
of the hair and face (see the marble head, No. 16). The 
execution is excellent, the modeling fresh and vigorous, 
and all details, such as nails, 
knuckles, and veins, are ren- 
dered with great care. 

A youth in a praying atti- 
tude is probably a votive fig- 
ure of the same period (Case 
B; fig. 102). The influence of 
Polykleitos is apparent in the 
form of the shoulders and 
the arms, but the rendering 
of the chest and the abdomen 
is different. 

Several other bronze stat- 
uettes of this period will be 
found in Case L. They in- 
clude two bulls, both fine 
animal studies, and a dancing 
satyr. With them is shown 
a pair of handles from a large 
volute krater. In the ae FIG. 102. BRONZE STATUETTE 
case have also been placed PRAYING BOY 
two marble fragments of 
architectural ornaments. They are pieces of egg-and-dart 
moulding (for restoration see head-band, p. 144) from the 
Erechtheion, the building which probably best illustrates 
the refinement of Greek ornament. One has a corner pal- 
mette. The Greeks brought the development of architec- 
tural ornament to a great degree of perfection. They 
knew how to attain both simplicity and richness of effect, 
and they lavished great care on the execution of every 


Case B 


Case L 


Marble 
Archi- 
tectural 
Orna- 
ments 


Bronzes — 
Mirrors 


Case F 


148 FIFTH ROOM 


detail. It is rarely possible to obtain large examples of 
such architectural ornaments at the present time (see our 
capital from Sardis, p. 323), but even these small frag- 
ments will give a better appreciation of the delicacy and 
crispness of Greek work than many books, photographs, 
and casts. 

We have already referred in the preceding section to the 
type of mirror consisting of a polished bronze disk with 
ornamented cover. Several fine examples of this period 
are included in our collection (Case F). They are indeed 
magnificent specimens of repoussé relief, showing the deli- 
cacy and precision of workmanship which the Greeks at- 
tained in this difficult art. On the cover of one is a female 
head in three quarters front, with long, wavy hair (fig. 103). 
The nobility of the features shows that this is an ideal 
head, not a portrait, and probably represents one of the 
sreater divinities. Among these Aphrodite is the most 
likely, both from her appropriateness to serve as the 
decoration of a mirror and from the action of the right 
hand, which holds a lock of hair, a characteristic of some 
representations of that goddess. In both execution and 
preservation this is one of the most beautiful of all known 
Greek mirrors. 

Another mirror of exceptional beauty is ornamented 
with the head of a maiden in full front, with her hair loose 
and flying about her head in wavy locks (fig. 104). Heads 
of the same general character with flying hair begin to 
appear on the coins of various Greek cities about the end 
of the fifth century, where they are associated with differ- 
ent divinities and local nymphs, according to the place 
for which they were struck. 

Occasionally the mirror cover was ornamented not only 
on the outside with a relief, but on the inside with an en- 
graved scene. Such is the case in one of our examples. 


Seopa ALF OF VY CENTURY B.C. . 165 


a Persian horseman shooting an arrow at a lion. A stone 
cylinder with a Greek warrior spearing a lion is bequeathed 
by Richard B. Seager. Etruscan stones likewise reflect the 
developed free style prevalent in Greece; but the scarab 
is retained for shape. The best example in our collection 
is engraved with a scene of Herakles throttling the 
Nemean lion. Other representations are a winged Athena, 
a female winged divinity, and acentaur shooting an arrow. 


FIG. 115. COINS OF SYRACUSE 


Among our coins of this epoch (Case C) is a series 
of splendid. Syracusan decadrachms (fig. 115), struck 
soon after the triumph of the Sicilians over the Athen- 
ian navy. Ihe female head with surrounding dolphins, 
and the quadriga on the reverse show the heightened 
sense for interrelated composition which artists now at- 
tained. The skilful manner in which four galloping horses 
are represented abreast in relief is comparable to the similar 
achievement on the Parthenon frieze. An unusual feature 
is the artist’s signature, Euainetos in two cases and Kimon 
in four. The youthful river god on the tetradrachm of 
Selinus is represented in the easy, harmonious pose 
familiar in contemporary sculpture. Two coins of Naxos 
have a squatting satyr in front view, in which the artist 
has dealt ably with a difficult pose and has admirably 
suited his figure to the circular space. As examples of 


Coins 
Case C 


166 FIFTH ROOM 


animal sculpture on a small scale the eagle head on the 
staters of Elis and the eagle devouring a hare on the coin of 
Akragas (fig. 114) could hardly be surpassed. The reverse 
of the tetradrachm of Amphipolis shows the decorative use 
to which the inscription could be put. The handles of the 
krater on the Theban coins are similar in type to the bronze 
handles in Case L. The head of a lion on the Leontinoi 
series is a punning allusion to the name of the city, a not 
unusual feature. The tetradrachm of Ainos in Thrace, 
with its head of Hermes and its goat, is a good example of 
workmanship in outlying districts. 


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SIXTH ROOM 
Pee OENTURY B.C. 


THE Peloponnesian war had ended in the year 404 
B.c. with the downfall of the Athenian empire. Sparta 
had championed the Greek states in their fight for inde- 
pendence and had been successful. But it was soon ap- 
parent that she had done so only to humble her rival 
Athens, and that she regarded herself as in control of the 
former Athenian dependencies. ‘These states found that 
they had merely exchanged one master for another and 
that Spartan rule was much more offensive than the 
Athenian had been; for Spartan garrisons were placed in 
many of the cities and the democratic parties deprived of 
their power. Moreover, Sparta did not even have the 
excuse of protecting the Aegean world from Persian ag- 
eression; for, in exchange for Persian recognition of Spar- 
tan leadership over Greek states, she calmly abandoned 
the Greek cities of Asia Minor to Persia. 

The power of Sparta was not long-lived. She was de- 
feated by Thebes in the battle of Leuctra in 379 B.c., and 
the leadership of Greece then passed to Thebes. But 
Thebes was no more successful, and when Epaminondas, 
the great Theban general, was killed in 362 B.c., she too 
was no longer able to maintain her position. It was clear 
that the unification of Greece could not be evolved from 


168 SIXTH “ROOM 


within. Love of autonomy among the individual states 
was too great, their jealousy of each other too strong to 
make the formation of a United States of Greece possible. 
Constant strife had, moreover, weakened the country, 
and when at last a formidable enemy from without ap- 
peared in the person of Philip of Macedon, she could offer 
no effective resistance. Happily the Macedonians, though 
looked upon as barbarians by the Greeks, were of a kindred 
stock, to whom the Greek civilization readily appealed. 
The conquest of Greece was therefore not an overthrow of 
Greek civilization, but rather the reverse. When Philip’s 
brilliant successor, Alexander the Great, conquered one 
by one the old Oriental kingdoms and brought the whole of 
Eastern Asia and Egypt under his sway, founding Greek 
cities wherever he went, he spread-Greek influence over a 
much vaster area than the most ambitious Greek could 
ever have dreamed possible. This extension of Hellenic 
culture far beyond the boundaries of Greece itself resulted 
in the “ Hellenistic’? Age, which we shall consider in the 
next section. | 

The effect of these historical events on the art of the 
fourth century is of great importance. Internecine wars 
and local intrigues were not likely to call forth the same 
high spirit of patriotism as had the war against Persia. 
Hence the ideal of the state lost much of its former glam- 
our. Moreover, the teachings of poets and philosophers 
like Euripides, Sokrates, and the Sophists had taught peo- 
ple to rely on their own judgment rather than blindly to 
obey authority. All this tended to raise the interest in the 
individual. It is just this difference which we observe in 
the arts of the fifth and fourth centuries. Instead of the 
idealism and impersonality of the fifth century, we find 
now introduced a personal, individualistic element. This 
individualism is not very marked, especially if judged by 


Moe Ren GEN TUR Y- B,C. 169 


modern standards, for the traditions of the Pheidian period 
were still strong; but it is nevertheless unmistakable. We 
are, in fact, on a different plane. The lofty conceptions 
of the fifth century have been changed for more human 
standpoints; and the products of the new epoch, though 
they still satisfy our sense of beauty, no longer call forth 
our reverence. 

The larger marble sculptures of this period are exhibited 
in the Central Hall and described on pp. 256 ff. On ac- 
count of the lighting, however, an exception has been 
made in the case of the head of an athlete, which is shown 
in this room on Pedestal L, but is described on p. 270. 
A number of smaller pieces show the charm and delicacy 
of fourth-century work. A statuette of Aphrodite con- 
ceived as bending down to loosen her sandal (Case H) is a 
Roman copy of a famous fourth-century original. There 
are many replicas preserved of this graceful motive. In 
spite of the mutilated condition of our statuette it still 
conveys the evanescent charm of the Praxitelean school. 
We can reconstruct the original composition from a better- 
preserved terracotta in this attitude (No. 23.160.20, Case 
K, west end); but the marble Aphrodite must have had 
an additional little Eros by her left breast—to judge from 
the traces preserved here. 

A small gravestone (Pedestal S) has a farewell scene in 
low relief. A youth, Erasinos by name, as we learn from 
the inscription at the top, is clasping the hand of his 
mother. A little boy stands by his side and his dog is 
jumping up at him. It is a slight work but it has a beau- 
tiful simplicity and poise (compare the other gravestones 
in the Sculptural Hall, pp.256ff.). ‘The finial and the lower 
part of the slab have been restored in plaster. A relief of 
Hermes and the nymphs (Case B) is another charming 
product of this period. 


Marbles 


Case H 


Pedestal S 


Case B 


Case G 


Case V2 


South 
Wall 


Case B 


Bronzes— 
Statuettes 


Case K2 


1'70 SIXTH ROOM 


Several attractive pieces are placed in Case G. A 
head of a youth, from Tarentum, perhaps formed part 
of a metope, for the sketchy treatment of the left side in- 
dicates that the head was originally seen in profile. This 
applies also to a head from Athens with remains of a hand. 
A small head, on the same shelf, is reminiscent of the 
Hermes of Praxiteles. Though the workmanship is 
sketchy, the artist has caught much of the charm of his 
master. A fragment from the Tholos at Epidauros is 
the gift of Philip Lydig. It 1s a piece of the frieze which 
decorated the circular wall of the Tholos. The head-band 
of this chapter (p. 167) shows the richness of the whole 
composition of the frieze, while in our little fragment we 
can appreciate the delicacy of the carving. A noteworthy 
piece in Case V2 is a relief witha youth on horseback, 
recalling in subject and style the relief No. 53 in the 
Sculptural Hall (p. 274). A fragment from a relief, placed 
on the south wall, shows a female figure sitting on a pillar, 
in a pensive attitude. It is evidently part of a replica of 
the well-known relief of Aphrodite persuading Helen to 
join Paris, which exists in several copies. The figure here 
shown is Peitho, Persuasion; we know from the other 
copies that beneath the pillar were seated Aphrodite and 
Helen, while opposite them stood Paris with Eros. A com- 
parison with the relief in the Naples Museum, which is the 
best-known replica, shows that the Peitho on our fragment 
agrees in all details with the corresponding figure in that 
relief. An interesting inscription (Case B) on a marble 
slab records expenditures (for maintenance or repairs?) on 
public buildings, including the Odeon and the Parthenon. 
It can be dated in the first half of the fourth century. 

A fine bronze statuette is placed in Casé) Ka. It 
represents an athlete standing in a beautiful rhythmic: 
pose (fig. 116). The finished execution of the graceful, 


Peecekel rH CENTURY B.C. 171 


slim body shows that a great master was here at work. 
Its combination of restraint and natural grace is char- 
acteristic of the fourth century B.c., and the propor- 
tions of the body with the long legs and the small 


FIG. 116. BRONZE STATUETTE OF AN ATHLETE 


head point to the influence of the great sculptor Lysip- 
pos. Ihe action was probably that of a diadoumenos. 
In his right hand he held the short end of the fillet 
while with his left he was winding the other, long end 
round his head. The depression made by the fillet in 
the hair is clearly marked, especially at the back, and in 
the front part of the head is a hole for fastening. 

Several other bronze statuettes of this period are in 


Case G 


Bronzes— 
Mirrors 


172 $1 XH ROOM 


Case G. A beautifully finished piece represents a bearded 
man standing with his right arm raised. Though the at- 
tributes are missing, we can identify him, from his general 
type, as Poseidon. Originally he must have held a trident 
in one hand and perhaps a dolphin in the other. A 
statuette of Hermes sitting in an easy attitude on a rock 
is a beautiful, harmonious composition, reproducing preb- 
ably a famous statue. The purse which he holds is an 


FIG. I17. . SILVER PHIALE 
PARCEL GIED 


attribute of Roman origin, so that the execution must 
date from that epoch. A statuette of Aphrodite is a Ro- 
man reproduction of the Knidian type of Praxiteles. 

In this case has also been placed a silver phiale or shal- 
low bowl tastefully decorated with a rosette (fig. 117). 
It is cast and chased, of massive silver, with effective parcel 
silding. Such bowls were doubtless used for libations and 
must once have been common enough, but few of them 
have survived on account of the precious nature of the 
material. The swing of the outline in our shape, the 
crispness of the work, and the heavy weight suggest a 
date in the fifth to fourth century B.c. 

In the preceding section we have described a number of 
Greek mirrors with covers ornamented with repoussé re- 
liefs, and occasionally also with engraved scenes (see p. 
148). Several examples of this type belonging to the 


mere CENTURY BEC 173 


fourth century are also included in our collection (Case E). 
Of these perhaps the finest has a relief representing two 
Pans engaged in a quarrel, with Eros intervening (fig. 118). 
One Pan has seized the other by the arm and is pulling 
him away against his will. Eros, who has apparently just 
arrived on the scene, is about to strike a blow at the re- 
monstrant. The locality is indicated as a mountain 


FIG. 118. BRONZE GREEK MIRROR WITH COVER 
EROS AND TWO PANS 


side by the rocky ground and the flowering plants. 
Both the composition of this group, which is skilfully 
adapted to the circular field, and the execution are 
excellent. The thick-set bodies of the Pans with their 
coarse-featured faces are well contrasted with the slender 
figure of Eros, and the physical exertion and intentness of 
all three are splendidly portrayed. 

Another mirror is decorated with a relief of a seilenos 
and a manin Scythian costume. The seilenos is seated on 
a rock, playing the double flutes. He has the usual snub 
nose, animal’s ears, and tail, and he sits on a lion’s skin, 
which serves him for a wine-skin. The youth seated oppo- 
site him is characterized as a Scythian by his long trousers 
and pointed leather cap. The subject of the scene is not 


Case E 


L774. SLI  ROGM 


certain. The seilenos playing the double flutes suggests 
Marsyas, in which case the figure opposite may be the 
Scythian slave who flayed Marsyas alive, as a punishment 
for his presumption in challenging Apollo to a musical 
contest. The subjects of the reliefs of two other such 
mirrors are Dionysos and Ariadne, and the head of a 
woman in profile. A relief which originally belonged to a 
mirror shows Aphrodite seated on a rock, with two Erotes. 
The graceful composition and the dainty postures of the 
figures make this a typical example of fourth-century work. 

A mirror cover, given by J. Pierpont Morgan, has on 
its under side an engraving representing a toilet scene! 
(fig. 119). Two women are sitting opposite each other; 
one is in the act of doing her hair, while the other is hold- 
ing up a mirror for her. The drawing is of great fineness, 
the lines of the garments and of the hair and all details 
being engraved with delicacy and freedom. As is often 
the case in mirrors of this type, the figures were silvered. 
The relief which decorated the outer side of the cover Has 
disappeared. 

Besides mirrors on stands and mirrors with covers, a 
third type was prevalent in classical times, viz., mirrors 
with handles. This form, which corresponds more nearly 
to our own hand mirrors, was in common use among both 
the Greeks and the Etruscans from the sixth to the third 
century B.c. Though we have as yet no Greek examples, 
except those which belong to the Cesnola Collection (in 
Gallery D 14), the Etruscan type is well represented in 
our collection. These Etruscan mirrors can be divided 
into two classes: one is provided with a tang for insertion 
in a wooden or bone handle; the other has a handle cast 
in one piece with the disk. In this case are exhibited our 


1This has been published by Furtwangler in Furtwangler und Reich- 
hold, Griechische Vasenmalerei, Serie II, Text, p. 42, fig. 18. 


bPouURtH CENTURY B.C. 175 


examples of the former type, which is the earlier, being 
prevalent at the end of the fifth century and throughout 
the fourth century B.c. The backs of these mirrors are 
decorated with engraved scenes. An examination of these 
will show what a high standard the ancients attained in 
this difficult art. The names of the various personages 
represented are often 
inscribed in Etruscan 
letters, a custom prob- 
ably borrowed from 
Greek vase-paintings. 

One of the finest ex- 
amples in our collec- 
tion is decorated with 
a scene of Aphrodite 
persuading Helen to 
join Paris. Two other 
beautiful specimens 
ahs engraved with * FIG. 119. BRONZE MIRROR COVER 
satyr pursuing a mae- TOILET SCENE 
nad and Achilles slay- 
ing Memnon. These three spirited scenes were undoubt- 
edly closely copied from Greek originals. The subjects of 
the designs on the other mirrors are Peleus surprising 
Thetis at her toilet; Athena between Thalna and Sime; 
Odysseus attacking Circe; Bellerophon slaying the Chi- 
maera; and Admetos and Alkestis kissing each other. Both 
the subjects and the style of the drawings show how closely 
dependent the Etruscan artists were on Greece. 

In the same case is a relief representing Eros standing 
in an easy, graceful pose, with a jug in one hand and a bowl 
in the other. The curved surface makes it probable that 
it decorated a hydria. Two bronze ornaments, perhaps 
from a vase, have effective palmette motives. A jug in 


Bronzes— 
Miscella- 
neous 


Case G 


Tomb 
Group 


Case J 


‘Lerra- 
cottas— 
Statuettes 


176 SIXTH’ ROOM 


Case G is decorated with a beautiful design in a jour relief, 
of an inverted anthemion rising from akanthos leaves. 
An interesting tomb group is shown in Case J. It con- 
sists of objects in different materials, chiefly bronze, said 
to have been found at Bolsena (see fig. 121). From the 
fact that a large number of the pieces are toilet articles, 
we may assume that the tomb was that of a woman. 
Many are inscribed Suthina 
(ANIOVM), in Etruscan letters, 
a word not infrequently found on 
Etruscan bronzes and apparently 
signifying “tomb article.” Two 
black-glaze vases definitely date 
the tomb in the fourth to third 
~ century B.c., and this evidence 
is confirmed by some of the other 
objects, which are decorated in 
the Etruscan style of that period. 
The chief interest of this group is 
that it gives us a good idea of 
the kind of articles placed together inatomb. The bronze 
objects consist of a mirror with an engraved design repre- 
senting the release of Prometheus, a patera with a handle 
in the form of a winged Lasa, a bowl, a jug, a cista, and 
a plate from an incense-burner. A dainty little box (fig. 
120), a pointed amphora with scroll handles, and a strigil 
are of silver. There are also a number of objects in iron 
and clay, as well as a gold ring, which is exhibited in the 
Jewelry Room, Gallery K4. 
The changes which the individualistic conceptions of 
the fourth century wrought in art are nowhere so convinc- 
ingly shown as in the “Tanagra”’ statuettes... The lofty 


FIGS 1202 SIEVERSPY ATS ci 


1The reason these statuettes are commonly called “Tanagra”’ is that 
figures of this type were first found about 1870 in tombs in the little 


Peiort GCENTURY. B.C. 177 


remoteness of the fifth century has here completely disap- 
peared, and a purely human charm has taken its place. 
We have before us no longer divinities whose sublimity 
evokes worship. The women, youths, and children por- 
trayed in these graceful little figures are as human as our- 
selves; and it is probably this very quality which has made 
them so popular today. They require no complicated ar- 


ElGee 2.0 BRONZE VASES 
PART OF A TOMB GROUP 


chaeological explanation. What story they have to tell 
they can tell themselves; for they represent the people of 
their time as we might have seen them any day, only trans- 
formed into works of art by their makers’ exquisite sense 
of beauty. 

Our collection includes many excellent examples of such 
statuettes (see Cases A, B, K, L2, N; fig. 122). The most 
_Boeotian town of Tanagra. Since then similar figures have been un- 
earthed elsewhere, but the extensive discoveries at Tanagra make it 
certain that they must have been particularly popular in that vicinity. 
The provenance of the examples in our collection is not always known. 


From their type many can be assigned to Tanagra, while others come 
from Attica and other regions in Greece proper. 


Cases 
A Beek. 
Lea N 


178 SIXTH ROOM 


successful are the figures of the women and girls. We see 
them standing in restful poses, sometimes leaning against 
a pillar, occasionally walking or sitting, but mostly quiet, 
serene, and a little pensive. Only rarely are they por- 
trayed in a definite action, such as doing their hair, carry- 
ing a child, or playing games. Their garments consist of 
a tunic (chiton) and a mantle (himation), generally 
wrapped completely round their bodies and arms. Some 
wear a pointed hat or a hood formed by pulling up the 
mantle. Leaf-shaped hats were evidently popular, for 
many of the women carry them, and baskets, tambourines, 
and other objects sometimes appear. There is little in- 
dividual interest; but it may be said without exaggeration 
that womanly gentleness and grace have never been ex- 
pressed more simply and more truly than by the artists 
who made these clay figures. The children are equally 
charming, and among them we must include the little 
Erotes with their merry, mischievous faces; for there is 
nothing godlike left in their conception; they are just like 
human children except for their wings. The youths are 
as a rule less successful, being generally conventional; 
only occasionally, as in figure 122 (center top), do we finda 
fine, dignified conception. 

A company of fourteen actors, said to have been found 
together in a tomb in Greece, is an unusual group (Case A). 
The figures show a great variety of types and poses, but 
all have the conventional insignia of the comic actor, such 
as the mask, which is generally bearded, and the protrud- 
ing stomach. The men wear trousers, a short chiton some- 
times made of fur, and occasionally a mantle and cap; the 
women (whose parts were of course taken by men accord- 
ing to the Greek custom, and who are clearly recognizable 
as such in our statuettes) wear long chitons and mantles. 
A few of the figures are identifiable with specific réles; for 


FOURTH 'CENTURY B.C. 179 


instance, a ludicrous statuette of Herakles with his finger 
in his mouth, an old nurse and a baby, andaslave. Some 
of the women appear to wear no masks, but it is more 


Bigs aio? TANAGRA  STATUETTES 


probable, since the custom of wearing them was so uni- 
versal, that the masks of young women were very like 
real faces. Whether such figures were used by children 
to personify actors, like the burattini in Italy, or whether 


180 SIXTH ROOM 


they were votive offerings, placed, perhaps, in an actor’s 
grave as an appropriate memorial, we have no means of 
determining. 

In order fully to appreciate the original appearance of 
the Greek terracotta statuettes, we must remember that 
they all were painted; and that instead of their present 
drab surface they showed a rich and varied color-scheme. 
We need only compare the seated boy in our collection 
(No. 14.146.4 1n Case B), on which the paint is unusually 
well preserved, with the figures on which it has mostly 
disappeared to see how much of interest and life was added 
by the coloring. The predominating colors used were 
white, blue, rose-pink, and yellow, all light, delicate shades, 
appropriate to the daintiness of the figures. The majority 
of the statuettes were made in moulds. The vent-hole at 
the back was of course added so that the moisture in the 
clay could evaporate in the baking. 

It has been said of the Tanagra figures that they are all 
sisters but few of them are twins. And this is certainly 
true. Considering the fewness of the motives, it would 
have been natural from our point of view to reproduce the 
same types over and over again. But the love of diversity, 
so characteristic of the Greeks, prevented such mechanical 
production. Though the same mould was used many 
times, variety was achieved by such means as attaching 
the arms in different ways, changing the pose of the head, 
adding different attributes, and retouching. These slight 
differences introduce a refreshing element of originality 
and save the statuettes from ever being monotonous. 

It has often been asked what was the purpose of these 
little figures. Were they used merely as bric-a-brac, had 
they a religious significance, or did they play a part in 
funeral ceremonies? We must admit that we do not know 
definitely. The majority have been found in tombs; but 


Pit Re He GEN TU RY “B.C: 181 


whether they were placed there because they were familiar 
household articles, or for any religious or specifically fu- 
nerary purpose, is difficult to decide. That they were, at 


FIG. 123. FORGERIES OF “‘TANAGRA”’ STATUETTES 


least in the majority of cases, purely genre figures, without 
any mythological import, seems clear from their general 
character. 

These Tanagra and related figures can be assigned to the 


182 S14 SOT HR OOM 


fourth century and to the beginning of the third century. 
Their development into other types characteristic of the 
Hellenistic spirit will be discussed in the next section. 

A special use of terracotta figures, which became popu- 
lar at this period, was that 
of ornaments for vases. 
The examples in our col- 
lection, placed in Case G, 
comprise a groupof Boreas 
carrying off Oreithyia, a 
sphinx, and a female fig- 
ure. 

A word must here be 
said about modern forger- 
ies of Tanagra statuettes, 
which are prevalent in 
many private and even 
public collections. When 
the Tanagra figures were 
first found, they immedi- 
ately enjoyed a great pop- 
ularity. As the supply was 
soon less than the wide- 
spread demand for them, 

FIG. 124; CAMPANIAN VASE the temptation lay near to 
3 replenish the stock with 
forgeries. Accordingly, a flourishing industry of such for- 
geries grew up, which deceived even experts for a consid- 
erable time, until the truth came out. 
Forgeries A number of such forgeries have been placed in Case P 
Gain (see fig. 123). There is perhaps no better way to appreciate 
the simple beauty of the Greek statuettes than to compare 
them with these modern imitations. The large mytho- 
logical groups are so wholly modern in conception and 


Case G 


FOURTH CENTURY B.C. 183 


composition that they do not here come into consideration. 
But many of the figures copy fairly closely the standing 
or sitting types of the Tanagra figures; and yet, on closer 
examination, their un- 
Greek character is ap- 
parent. Compared with 
the simple naturalness 
and quiet poise of the 
Greek figures, these 
moderncreations ap- 
pear affected and thea- 
trical. This 1s shown 
both in the attitudes— 
especially in the po- 
sitions of the head and 
arms—and also in the 
expressions. Serenity 
has given place to sen- 
timentality. The dra- 
pery is another criterion. 
It is almost invariably 
fussy and confused and 
often lacks construc- 
tion. Another difference 
is the greater length of 
the line from the waist 
to the knees, which will be observed in many of the for- 
geries. Sometimes the modern pieces are made from 
moulds taken from ancient statuettes, in which case it is 
occasionally difficult to pronounce judgment; for in those 
cases the style is of course Greek; but even here a certain 
indefiniteness in the contours and often the addition of in- 
appropriate details betray the hand of the forger. 

We have seen in the preceding section (see p. 160) that 


FIG. 125. “‘ATHENIANIZING” VASE 


Vases 


Case R 


184 SIXTH ROOM 


by the beginning of the fourth century the great Athenian 
vase industry was on the decline. Asa result new ceramic 
centers came into being, of which the most important were 
in southern Italy. We can distinguish first an “Athenian- 
izing’’ ware which makes its appearance in the late fifth 
century B.c., and then, in the 
fourth century, more independent 
styles, which though based on the 
Athenian red-figured technique, 
clearly show the tastes of a dif- 
ferent time and place. These 
fabrics correspond to the three 
chief divisions of South Italy— 
Apulia, Campania, and Lucania 
—the products of each locality ex- 
hibiting marked characteristics of 
their own. 

In our collection are several ex- 
amples of the earlier phase, of the 
end of the fifth or early fourth cen- 
tury B.c., in which the Athenian 
style is still dominant (Case R). 
Foremost among these are two 
vases of unusually good workman- 

FIG. 120. ship. One is a large bell-krater, 
betsy 2 i said to have been found in Sicily, 
with Thetis’s visit to Hephaistos represented on one side 
and an unidentified scene on the other. The second is an 
amphora, reminiscent in shape of the “ Nolan” form, with 
a representation of the departure of a young warrior (fig. 
125). In both these vases the shapes, the fine luminous 
quality of the black glaze, and the general style point toa 
close connection with Athenian prototypes. Some details 
in the costumes and decoration, however, and here and 


POURTH iGENTURY B:C. 185 


there the type of features, show the presence of a foreign 
element. 

The Lucanian, Campanian, and Apulian fabrics, which 
belong to the fourth 
to third century 
B.c., are illustrated 
in our collection by 
a number of exam- 
ples placed in cases 
and on pedestals on 
the east side of the 
room. Of the first 
two we have only a 
few pieces (Case Z). 
The Lucanian vases 
are distinguished by 
their comparative 
simplicity of style, 
rare use of acces- 
sory colors, and a 
certain largeness 
and restraint both 
in the drawing and 
the composition. 
The Campanian 
ware is character- 
ized by its brilliant 
coloring, which gives it a markedly picturesque quality 
(see fig. 124). By far the most numerous are the Apulian 
vases. Ihe most distinctive in our collection are two 
vases of large size, one an amphora with a representation 
of the dispute of Persephone and Aphrodite concerning 
Adonis (on Pedestal Y; fig. 126), the other a hydria with a 
scene of Hades carrying off Persephone (on Pedestal W) 


y 


HED SSS te eo 


FIG. 1277. APULIAN VASE 


186 SIXTH ROOM 


Several other vases of large size are painted entirely black 
with occasionally the addition of a gilt wreath (on Pedes- 
tals Q and U: and on the top of Cases T and X). In gen- 
eral appearance they are perhaps the most successful of 
the Apulian vases, since the beauty of the shapes is not 
marred by too lavish decoration. A beautiful example of 
this type from Kerch (Case F) is of Athenian execution. 

A selection of our better painted specimens is exhibited 
in Case V; among these the 
most noteworthy are the 
beautiful “lekane”’ in the 
center of the top shelf (fig. 
127), the lekythos, on the 
deck of the case, with an 
attractive scene of a little 
girl in a swing, and a small 

FIG. 128. APULIAN CUP cup with the head of a 
woman (fig. 128). 

In Case X (bottom shelf, to the right) should be noted 
two large vases with funerary -scenes; the mourners 
are represented as bringing offerings to a tomb, which is 
in the form of a shrine with a representation of the de- 
ceased, similar to contemporary marble tombstones (see 
pp. 258ff.). It will be observed in general that the Apulian 
vases show a great variety of shapes, but a marked poverty 
of invention in the representations. Exchange of gifts 
between two lovers, funerary scenes, single figures of Eros 
and Nike, and female heads occur with monotonous 
frequency. Mythological subjects are comparatively rare. 

A comparison between these Graeco-Italian fabrics and 
the Athenian vases will show important differences. The 
black glaze has rarely the same rich, luminous quality; the 
shapes are no longer borrowed directly from the Athenian 
repertoire; and above all, the types of the figures, the 


FOURTH CENTURY B.C. 187 
generally crowded compositions, and the profuse use of 
yellow as well as white as accessory colors, give these vases 
an entirely different aspect. In the better examples the 
elaborateness of shape and decoration makes an impres- 
sion of richness and splendor which give them a value of 
their own; but in the less successful vases this striving 
toward effect does not hide indifferent workmanship and 
inherent poverty of invention. In other words, this South 
Italian style is like a last echo of the great period of Athe- 


FIG. 129. COINS OF TARAS, OF TERINA 
AND OF RHODES 


nian ceramics. It is still beautiful in so far as it is reminis- 
cent of former achievements; but there is a weakness at 
the core which precludes the possibility of a great future, 
and when the style died out in the third century, the red- 
figured technique came definitely to an end. 

We have only a few examples of Greek engraved stones 
of this period (Case C). ‘The representations consist of 
animals attacking their prey, and various deities. The 
Etruscan stones are mostly of careless execution, being 
roughly worked with the round drill, without any indica- 
tion of detail. 

In contrast to the gems, the coinage of the period re- 
mains at a high level (Cases M andO). Such compositions 
as the youth on the dolphin from Taras (fig. 120, left) the 
seated Nike from Terina (fig. 129, center), and the goat from 
Ainos show as yet no deterioration from former accomplish- 


Engraved 
Stones 
Case Co 


Coins 
Cases 


M,O 


188 SIXTH ROOM 


ments. The range of subjects becomes wider, approaching 
occasionally even the genre. A coin of Herakleia shows 
Herakles strangling the Nemean lion by means of a hold 
well known to wrestlers; a stater of Aspendos, two wrestlers 
engaging; one of Kelenderis, a rider sliding down from his 
horse. The heads of Rhodes (fig. 129, right) and of Ainos 
are interesting examples of an experiment in full-face ren- 
dering, which was soon abandoned, for the wear to which 
coins are subjected madeit impractical. OurcoinsofAlex- 
ander the Great, with portrait head of Alexander as 
Herakles, illustrate the great change which came aboutin the 
character of coin types in the later part of the fourth cen- 
tury. The loss of Greek independence is reflected in the 
disappearance of city emblems, now largely replaced by 
portraits of rulers. The head of Ptolemy Soter on the gold 
stater of Egypt is the first instance on a Greek coin of a 
portrait of a living man. 


SEVENTH ROOM 
meee ENNIS 1G» PERIOD 


THIRD TO FIRST CENTURY B.C. 


W itTH the conquests of Alexander the Great, Greece 
entered upon a new phase of her history. She had sub- 
dued the old kingdoms of the Orient and extended her 
borders far beyond the confines of her own country. Her 
history is henceforth bound up with that of the great Hel- 
lenized world which she had created. This new world she 
was unable to control politically. With Alexander’s death 
the old Greek inability to combine reasserted itself, and 
after long struggles between the Macedonian generals who 
succeeded to Alexander’s empire, three separate kingdoms 
—Macedonia, Syria, and Egypt—were finally established. 
But presently quarrels arose among these also, and in a 
long series of wars their strength was gradually sapped. 
This was the more disastrous since a new power was in the 
meantime rising in the West. Rome, from being merely 
the chief city of a handful of Latin tribes, had gradually | 
subdued most of Italy. She had in turn conquered the 
Etruscans, the Gauls, and the Samnites. Only one rival 
remained—Carthage. When Hannibal, the great Cartha- 
ginian leader, invited Macedon to join him against Rome, 


190 SEVENTH ROOM 


the East, not recognizing that her own future was at stake, 
failed to intervene. Hannibal was finally defeated in 202 
B.c. Shortly afterward Rome defeated both Greece and 
Asia, and thus became the controlling power in the Medi- 
terranean. For some time she was content with this 
indirect control rather than complete sovereignty, espe- 
cially as constant civil wars at home demanded her atten- 
tion. It was not until the time of Augustus (31 B.c.) 
that the East and West were finally combined under one 
sreat Roman empire, and with its establishment began the 
Roman Imperial era, described in the next section. 

Though politically Greece had shown her incapacity to 
become a strong unified power, the greatness of her civili- 
zation was such that it nevertheless conquered the whole 
world. Not only did new centers of Greek art and learn- 
ing arise all over Asia Minor and Egypt, but Rome herself 
eagerly adopted Greek culture and modeled her literature 
and art on those of Greece. 

The question that concerns us here is: How was Greek 
art affected by this expansion? First, it may be said that 
it acquired a new lease of life. At a time when it had passed 
its prime and a period of decline was bound to set in, the 
infusion of new blood added several centuries to its career. 
Its character, moreover, underwent a great change. The 
aim of the artist was no longer idealism or pure beauty, as 
it had been in the fifth and fourth centuries, but realism. 
This realism was often tempered by the old idealistic 
tendencies, and many works harking back to the former 
styles were still produced, especially in Greece proper. 
But in the new schools of Asia Minor the realistic spirit 
was strong. It showed itself in various ways: the model- 
ing became more anatomical and scientific, the sculptor 
being anxious to copy nature in every detail; the interest 
of the artist was broadened to include a larger variety of 


Paola Nol So LL Ce-P EE RLOD IOI 


subjects, and old people, children, and even caricatures 
were studied with new insight; also, a certain love of dis- 
play, the natural outcome of realism, began to assert itself. 
But though in conception Hellenistic works do not reach 
the former lofty standards, they often exhibit great vigor 
of treatment and remarkable skill in execution. The 
vitality of Hellenistic art is, moreover, shown in its inde- 
pendence. In many of 
its creations there is a 
great fertility of inven- 
tion; and even when it 
borrows types from ear- 
lier works, it often 
transforms them socom- 
pletely as to make them 
its own. 

The large marble 
sculptures of this period 
in our collection are ex- 
hibited in the Sculp- 


FIG. 130. MARBLE HEAD 
turdiebiall (pp. 275. ff.). OF A BARBARIAN 


Several smaller marbles 


are shown in this room and in the adjoining Eighth Room. 


Marbles 


The head of a young girl in Case A shows the influence of Case A 


the works of Praxiteles both in conception and in execu- 
tion. It is full of gentleness and charm, and the surface 
has a beautiful evanescent effect. There is, however, a 
lack of definition and finish about the modeling wholly 
different from fourth-century work. In other words, it 
lacks the strength which early Praxitelean works always 
show. At the top of the head is a large quadrangular in- 
cision for the insertion of another piece. It is possible 
that this consisted of a veil which covered both the top 
and the back of the head. The head of a barbarian (Case 


Case Q 


Case D 


Case T 


Bronze 
and Silver 
Statuettes 


Case K 


192 SEVENTH ROOM 


QO; fig. 130) with deep-set, expressive eyes is a Roman copy 
of a fine Hellenistic type in a realistic vein. Two small 
marble heads are in Case D. One is a remarkable repre- 
sentation of a female Pan with head thrown back and eyes 
half closed in evident ecstasy. 

Six painted stelai, placed in Case T, are of special in- 
terest. They were found at Hadra, near Alexandria, in 
the same cemetery as the vases in Cases V and X, and like 
them can be dated to the third century B.c. The inscrip- 
tions show that they were erected over the graves of 
Galatians. The paintings, executed in various shades of 
red, blue, yellow, and mauve, represent the deceased as he 
appeared during his life, or taking his farewell—just as do 
the fourth-century grave reliefs. 

The bronzes in our collection include a number of excel- 
lent examples of this period, and well illustrate the various 
trends of Hellenistic art. A statuette of an old bearded 
man (fig. 131), to be identified perhaps with Hermarchos, 1s 
probably the finest Greek portrait on a small scale now in 
existence (Case K). The dignity of the pose and the life- 
like rendering of the figure combine to make it a master- 
piece of its kind. The subject is treated with a mingling 
of idealism and realism. The features are very individual, 
the skin where exposed is represented as shriveled by old 
age, while the prominence of the abdomen is faithfully ren- 
dered. But in spite of this marked realism with regard 
to details, the figure as a whole is full of force and dignity, 
and the general conception is more suggestive of full- 
size sculpture than of a work of small dimensions. More- 
over, the arrangement of the drapery in a few sweeping 
folds contributes to the effect of quiet simplicity. The 
figure was originally mounted on an Ionic bronze column 
of which only the capital and the core of the shaft are 
preserved. 


FIG. 131. BRONZE STATUETTE 
HERMARCHOS (?) 


Case J 


194 SEVENTH ROOM 


The probable identification of the statuette as a portrait 
of Hermarchos is based on its close resemblance to a bust 
from Herculaneum in the Naples Museum, which is in- 
scribed with his name (see Museum reproduction No.1047). 
In execution, however, our statuette is greatly superior, 
having all the spirit and animation of an original Greek 
. work, while the Herculaneum 

bronze is a somewhat indifferent 

Roman copy. Our information 

about Hermarchos is scanty, 

none of his writings having sur- - 
vived; but we know that he suc- 
ceeded Epicurus (see pp. 281 ff) 
as head of the Epicurean school 

of philosophy about 270 B.c., a 

date which would agree with the 

general style of our statuette. 
A statuette of the drunken 

Herakles is an excellent product 

of Hellenistic art {Casen}< ig, 

133). He is represented reeling 

backward, his head thrust for- 
ria) eA eee ward, his legs wide apart. Both 

LET WITH PENDANT arms are missing, but from a 
better-preserved statuette of 

this type in the Parma Museum, we learn that the right 
arm was extended, the hand probably holding a cup, 
and that the left was lowered. Such a subject, showing 
the less heroic side of Herakles, would never have been 
attempted by an earlier artist; but to the sculptor of our 
statuette it was a theme full of new possibilities, and 
well adapted to show off the strong, muscular body of 
the hero—which, indeed, he did with great ability. It 
should be noted, however, that the drunkenness of Hera- 


HELLENISTIC PERIOD 195 


kles is suggested only in the pose; there is nothing in the ex- 
pression of the face to indicate it—and this is characteris- 
tic of the mingled realism and idealism of Hellenistic art. 

A silver bracelet with pendant (Case O; figs. 132 and 134) Case O 
is a rare, exquisite piece. From 
a chain of rather heavy double 
links is suspended a pendant in 
the form of a satyr playing the 
syrinx. He 1s half crouching, 
half sitting, with the hoof of 
one leg tucked under the knee 
of the other in a charmingly 
lifelike attitude; and though 
only a little over an inch in 
height, is modeled with all the 
care and finish one might be- 
stow on an important statue. 
Ueimeverimilictre body, the 
shaggy hair on the goat’s legs, 
and every feature of the face 
are beautifully rendered; even 
such a detail as the curved fin- 
gers as they press on the pipes 
of the syrinx is carefully indi- 
cated—though it can hardly een Deniers tent dR 
be seen with the naked eye. DRUNKEN HERAKLES 
But most remarkable of all is 
the expression of the face. The satyr is evidently ab- 
sorbed in the music he is making and he is giving himself 
up completely to his pleasurable sensation. The piece 
was obviously intended to be seen from all sides, and was 
composed so that it could be enjoyed from every angle as it 
hung suspended from the wrist of a fortunate human being. 
The preservation is excellent. [he most serious blemish 


FIG. 133. 


Case N 


196 SEVENTH ROOM 


is a small cut on the nose which gives it a flattened appear- 
ance, and some black stains (on both the chain and the 
pendant) caused by the oxidation of the silver. 

A number of smaller bronze statuettes will be found in 
Case N. The statuette of a grotesque figure, on the mid- 
dle shelf, is a masterpiece of Hellenistic bronze work (fig. 
135). The execution is both careful and spirited; and the 


FIG. 134. ‘PENDANT OF THE SILVERKSBRACELET 
SATYR PLAYING THE SYRINX 


rendering of the face with its half-leering, half-pathetic ex- 
pression gives a very human interest to this deformed crea- 
ture. Moreover, technically it is of importance, illustrat- 
ing as it does the care with which some ancient bronzes 
were worked and decorated. Both forearms (now missing) 
were evidently made in separate pieces and inserted. 
The whites of the eyes are of silver; the irises and pupils 
have fallen out, but were probably of some other material. 
The two protruding teeth are of silver; the hair and whis- 
kers are covered with a thin foil of niello, and the little 
buttons on the sleeves of the tunic are also of niello. 
Though the black niello can now hardly be distinguished 
from the dark patina, it must originally have been most 


Posie NISTIC.. PERIOD 1Q7 


effective when contrasted with the golden color of the 
bronze. 

Two diminutive statuettes on the same shelf are worked 
with astonishing freshness and vigor, considering their 
small size. One shows Herakles struggling with the Ne- 
mean lion, the other a dancing satyr, of the same type as 
the famous bronze in the National 
Museum of Naples. An actor is 
represented in a dramatic pose as 
if reciting. He wears the conven- 
tional mask of tragedy, but that in 
no way detracts from the realistic 
impression of the acting, showing 
how much can be expressed by the 
attitude apart from the play of feat- 
ures. Another figure also in a de- 
clamatory pose but without mask 
may also be an actor. The statu- 
ette of Antiocheia, the personifica- 
tion of the city of Antioch, is a re- 
duced copy of a famous work by 
the sculptor Eutychides. 

In Case D are other noteworthy 
bronzes. The range of subjects 
shows the enlarged scope of Hellenistic art. The stat- 
uette of a negro boy (fig. 136) with a mantle twisted 
round his waist is a fine realistic study. The character- 
istic features of the race—the slouching gait, the wide 
mouth with thick lips, the short broad nose, and the woolly 
hair—are rendered with a refreshing naturalism. The 
statuette of a striding satyr of Pergamene type is a good 
Roman copy of a Hellenistic work. The bust of a bar- 
barian wearing a mantle and sword is a sensitively modeled 
piece of great beauty (fig. 137). The group of wrestlers 


FIG. 135 
BRONZE STATUETTE 
A GROTESQUE FIGURE 


Case D 


Bronzes— 
Mirrors 


198 SEVENTH ROOM 


and those of youths carrying the dead body of a com- 
panion are decorative handles from Etruscan cistae or 
toilet-boxes. 

In the same case with the statuettes, on the bottom 
shelf, are shown examples of bronze mirrors of this period. 
They are of the later Italic 
type referred to above (see p. 
174), with handle cast in one 
piece with the disk and termi- 
nating generally in the head of 
ananimal. Such mirrors have 
been found chiefly at Prae- 
neste, and were therefore prob- 
ably both invented and mainly 
manufactured there. Though 
in many respects to be distin- 
euished from the earlier Etrus- 
can ones (see p. 174), they must 
still be regarded as intimately 
connected with them. They 
date from the end of the fourth 
and the third century B.c. 

The backs of these mirrors 
are, as in the earlier exam- 
ples, decorated with engraved 
scenes, but these are mostly of 
careless workmanship and the range of subjects is limited. 
Favorite representations, repeated again and again, are 
the two Dioskouroi, generally accompanied by two women, 
and the winged goddess Lasa. Several such are in our 
collection. By far the finest example we have is one dec- 
orated with a scene of Aphrodite fishing, with Eros aiding 
her. The landscape is suggested by the rocks on which 
the goddess is seated, the palm tree between her and Eros, 


FIG. 136. BRONZE STATUETTE 
A NEGRO BOY 


HELLENISTIC PERIOD 199 


and the flowering plants. The drawing is graceful and 
lifelike. This is undoubtedly earlier than the other speci- 
mens, belonging probably to the fourth century, and if 
not executed by a Greek artist, was certainly directly in- 
spired by a Greek original. Inscriptions are much rarer 
on these mirrors than in the , 
earlier Etruscan ones; and 
they.are sometimes in Latin, 
which was the current lan- 
guage of Praeneste. This 
is the case with one of our 
mirrors with a representa- 
tion of the union of Juno 
and Hercules, in their char- 
acter as deities of matri- 
mony. 

A silver mirror said tc be 
from Olbia, South Russia, is 
of anunusual type. It con- 
sists of a disk surrounded 
by an openwork border in 
silver-gilt, the whole 
mounted on a hemispherical wooden block. The wood 
was probably originally covered with some fabric. The de- 
sign of the border is very attractive. Palmettes, scrolls, 
akanthos leaves, flowers, and birds are combined into a 
rich and harmonious pattern, highly decorative in effect. 
A bronze plaque of roughly triangular shape may have 
served as a horse’s nose-piece. It has incised scenes in late 
Etruscan style. 

A few decorative bronze pieces will be found in Case B. 
Especially noteworthy are two disks with finely worked 
reliefs, one of a young satyr, the other of an old bearded 
satyr (fig. 138), which originally served as decorations in 


FIG. 137. BRONZE ATTACHMENT 
BUST OF A BARBARIAN 


Bronzes—: 
Miscella- 
neous 


Case B 


Cases R,S 


Terra- 
cottas 


Cases 


C, M, P 


200 SE) Vin ve RO Oont 


horse-trappings. They were found at Elis with six other 
pieces now in the British Museum. _ The faces of the satyrs 
are modeled with great realism, every detail being care- 
fully rendered; the eyelashes, for instance, are indicated by 
delicately incised lines on the lids. A pair of ornaments, 
each in the form of a mule’s head, are also pieces of fine 
workmanship. Such ornaments were used to decorate 
the upper front corners of the 
curved rests placed on couches 
of late Greek and early Imper- 
ial type. Several bronze and 
silver cups have finely designed 
handles. 

The other bronze utensils 
and implements of this period 
are placed in Cases R and S. 
They include an Etruscan can- 


FIG. 138. BRONZE RELIEF E 
AN OLD SATYR delabrum, Italian helmets of a 


type found on the battle-field 
of Cannae (216 B.c.), two cuirasses, a colander, and a meat- 
hook. 


The custom of fashioning small figures in painted terra- 
cotta, which, as we saw, had become very popular in the 
fourth century, was continued in Hellenistic times. The 
chief center for their manufacture, however, shifted from 
Tanagra to regions outside Greece proper. The little town 
of Myrina in Asia Minor, for instance, has been rendered 
famous by the extensive discoveries made there during ex- 
cavations in the years 1880-1882. Tarentum in South 
Italy likewise proved a particularly fruitful field. 

Our collection includes specimens from Myrina, Smyrna, 
Pontos, Herakleia, and especially from Tarentum (Cases 
C, M, P). A comparison between these and the Tanagra 
examples will show the differences which the Hellenistic 


eae NS Fd CP ERT O.D 201 


spirit produced in these little statuettes. Instead of the 
quiet, gentle women, youths, and children of the preceding 
epoch, we have mostly figures in lively attitudes, often of 
mythological character (fig. 139). Some types are indeed 
copied more or less directly from the Tanagra figures; but 
even in these a new striving for effect is generally notice- 


FIG. 1390. TERRACOTTA STATUETTES 
ASIATIC TYPES 


able. Among our Asiatic examples (Case M, north side) 
the finest are a flying Victory in which the forward sweep 
of the figure has an almost sculpturesque grandeur, and a 
flying Eros lent by W.S. Davis. A little boy with a cock, 
two comic actors, and a Priapos, the god of fertility, car- 
rying an armful of fruit, are other noteworthy pieces. 
From Tarentum we have about one hundred pieces, 
including several tomb groups. These are not, as is. the 
case in the other figures in our collection, selected ex- 
amples; but they represent a fairly complete series of the 


Top of 
Case V 


Pedestals 
abe 


Top of 
Cases G, S 


202 SE LVinUNe GH ROO. 


most characteristic Tarentine types (see fig. 140). We 
can see what kinds of objects were placed together in a 
tomb (south side of Case P); and we note the great differ- 
ence between careful work, in which details were gone 
over with a finishing tool, and inferior products left as 
they came out of their moulds. Among the finer examples 
are included several draped female figures, some statuettes 
of Aphrodite, and especially two dancing-girls (at west 
end), who in grace and simplicity of pose almost rival 
their Tanagra sisters. Besides statuettes there are a 
number of antefixes, perforated disks, and various moulds 
(chiefly in Case C). 

An Etruscan frieze decorated with a brilliantly colored 
relief is an interesting piece, dating probably from the third 
century B.c. (top of Case V). The decoration consists of 
a marine scene, with sea-horses and dolphins leaping amid 
seaweed and shells. Below, a conventional wave pattern 
indicates the sea. There are in all seven slabs, alike in 
every detail, so that we may assume that they were made 
from the same mould. The colors—red, blue, and yellow 
—are still well enough preserved to give us some concep- 
tion of the gay effect of the whole. The frieze probably 
once ornamented an Etruscan tomb-chamber. 

A number of Etruscan urns, used for holding the ashes 
of the dead, are also included in our collection (Pedestals 
F and-Y, and top of Cases G and S). Im shape theyiare 
miniature sarcophagi, the cover being ornamented with a 
recumbent figure, while the body has a gaily painted relief 
decoration. The subjects have mostly some reference to 
death, either directly, when a dying person 1s represented, 
or indirectly, in mythological scenes of fatal combats. 
The reliefs on the examples in our collection include two 
combats of heroes (perhaps Eteokles and Polyneikes) and 
two baitle-scenes of a hero fighting with a ploughshare. 


PeteiieatN tol CGC PE RTO D 203 


The latter may be Echetlos, who we are told by Pausanias 
(I, 32) appeared in the battle of Marathon to help the 
Athenians against the Persians and “slaughtered many of 
the barbarians with a plough.’ One, which is of stone, 
not terracotta, has a representation of a woman on her 
death-bed. Several of the urns have Latin inscriptions in 
Etruscan letters, giving the names of the deceased. The 


FIG. 140, TERRACOTIA STATUETTES 
TARENTINE TYPES 


style of the reliefs is late Etruscan of the third century 
B.c. The facts that many of the compositions occur over 
and over again and that the work ts generally careless show 
that they were regarded as rather cheap products. The 
gaudy paint preserved on some of the examples makes 
them more effective than they otherwise would be. 

On top of Case S are the head of a youth, almost life 
size, and a fine antefix, decorated with a relief of two goats’ 
heads butting, which rise from akanthos leaves and are 
surmounted by a palmette (see tail-piece, p. 210). The 


Vases 


Case S 


204 SEVENTH ROOM 


surface of the leaves and the shaggy hair of the goats are 
particularly well rendered. Extensive traces of paint are 
still preserved. 

We have seen how during the fourth century potters 
walked more or less in the footsteps of their predecessors, 
and produced painted vases on the same general princi- 
ples, if not of the same quality, as the Athenian red- 
figured ware. The Hellenistic potters, on the other hand, 
tried new paths. The most important of these were the 
use of other colors besides the black glaze covering the 
surface of the vase; the painting of naturalistic decorative 
designs over the black glaze or other body color, instead 
of the figured scenes reserved in the red clay; and the use 
of relief decoration in imitation of metal ware. All of 
these techniques had already been practised before Hel- 
lenistic times, but their general adoption for certain classes 
of vases was new. 

The description of a few of these classes represented in 
our collection will give an idea of the general character of 
the pottery of this epoch. 

In Case S have been assembled most of the wares in 
which the vases are entirely covered with black glaze. 
On the three upper shelves of the left side of the case are 
those commonly called Egnatian, since many of them 
have been found in Egnaziain Apulia. Garlands, birds, fe- 
male heads, masks, and similar decorations are painted in 
white, yellow, and red over the black glaze (fig. 141). The 
bodies of the vases are sometimes fluted, which suggests 
their derivation from metal ware. On the bottom of the 
same side of the case are vases decorated with stamped 
and relief ornaments. Notable among them are several 
“Jamp-feeders.”’ On the right side of the case, on the 
wall, are several examples of the so-called Calenian vases. 
These consist of cups entirely covered with black glaze 


Pea NIL ST be oP E RIOD 205 


and ornamented on the inside with a frieze or central 
medallion. From the potters’ stamps which occur on some 
of the vases (there are none among ours) we learn that they 
were produced at the end of the third or the beginning of 
the second century B.c. The subjects on our examples 
include friezes of chariots with divinities, Herakles and 
lolaos fighting the Lernaean hydra, a gorgoneion, a crab 
and a frog, and female heads and busts. 

A collection of nineteen vases in Case H is of special 
interest as having been 
found in one grave, prob- 
ably at Teano, in Cam- 
pania. They are likewise 
covered with black glaze, 
and are ornamented with 
stamped and incised as 
well as painted decorations 
(see, e.g., head-band, p. 
189). The vases consist of FIG. 141. EGNATIAN CUP 
a large water-jug, a num- 
ber of plates, deep and shallow, various jugs, and a cruet- 
stand. They probably constituted a dinner service. 

A class of Hellenistic pottery which is unusually well rep- 
resented in this Museum is that of “ Hadra”’ vases (Cases 
V and X; fig. 142). The name is derived from the fact 
that they were first found in large quantities at Hadra, 
the eastern necropolis of Alexandria. Contrary to the 
regular custom in Greece they were used to contain the 
ashes of the dead. An interesting feature is the addition 
of inscriptions on some examples, giving the name of the 
deceased and the date of his burial. From these we learn 
that the vases belong to the third century B.c. and were 
used for the burial of Greeks who died in Alexandria. The 
majority of them are of the hydria (water-jar) shape. 


Case H 


Cases 
VX 


Tops of 
Cases 
as 


Case G 


206 SEVENTH ROOM 


The decoration consists chiefly of ornamental naturalistic 
motives such as sprays of ivy and laurel, grapevines, pal- 
mettes, and flowers, and occasionally of Erotes and animals 
—some of marked decorative quality. They are painted 
either in blackish brown directly on the-natural clay, or in 
tempera in a variety of bright colors on a coating of white 
or yellow. The tempera designs have unfortunately largely 
disappeared, owing to the delicacy of this technique. One 
of the finest is a head of Medusa painted as a medallion on 
the body of a vase (Case X). 


FIG. 142. VASES FROM HADRA, EGYPT 


A number of large ornamental vases, elaborately deco- 
rated with reliefs and statuettes in the round, have been 
found at Canosa and other places in southern Italy. They 
form an extreme instance of the employment of plastic 
decorations by Hellenistic potters. Three fairly complete 
examples have been placed on top of Cases V, X, T (see 
fig. 143). They are painted like contemporary statuettes, 
that is, covered with a white coating on which the other 
colors were applied. The sculptural decorations consist 
of female statuettes of conventional types, fore parts of 
horses, Nereids, and a spirited hunting scene. 

Besides these three whole vases, we have four separate 
reliefs from similar vases, representing scenes of combat 
both on foot and on horseback (Case G, top shelf; fig. 144). 


Meier N.S 0G PERIOD 207 


They are remarkable for the vigor of their compositions 
and the preservation of their colors. From them we can 
learn the brilliant appearance of some of these vases. 

In the same case are a number of vases of this period, 
not all assignable to special fabrics, either painted in tem- 
pera or left in the natural 
color of the clay. A num- 
ber of these have decora- 
tions in relief, generally of 
rough execution, designed 
chiefly for general effect. 
A conspicuous piece is a 
large pyxis or toilet-box 
(on the bottom of the right 
side), with a relief on the 
cover showing two lovers, 
gaily painted in white, 
pink, red, blue, and green. 
A small bowl (on the 
second shelf from the top, 
right side) bears the mark 
of the potter, C. Popilius. 
It belongs to a group which 
is generally regarded asan ._ FIG. 143. CANOSA VASE 
Italian imitation of the 
Greek “ Megarian Bowls.”” Several pieces are moulded in 
the shapes of animals or human figures. Such are a 
pygmy carrying a crane, a dog, a cock, and a duck. Two 
graceful amphorae once painted and gilt are mounted on 
Pedestals U and W. They are the gift of F. W. Rhine- 
lander. 

In the Third Room are shown a number of glass vases of 
the type found in Greek and Etruscan tombs of the sixth 
to fourth century (see p. 99). They are modeled by 


Glass 


Case E 


Engraved 
Stones— 
Greek 


Case B 


208 SEVENTH ROOM 


hand and decorated with variegated patterns incorporated 
in the body of the vase. This same technique was con- 
tinued during the Hellenistic period until the second or 
first century B.c., when the invention of the blowing-tube 
worked a revolution in the manufacture of glass. The 
Hellenistic glasses (shown in Case E), though technically 
identical with the earlier examples, can be distinguished 
from them both by their 
shapes and by their 
coarser execution. They 
are often supplied with 
elaborate handles. 

In the gems of this 
epoch we can distinguish 
two distinct classes: those 
produced by Greeks in 
the eastern Mediterra- 
nean, and those produced 
in Italy by the Romans. 
The Greek gems exhibit the Hellenistic style familiar from 
the other monuments of the period. Instead of the perfo- 
rated scarabs and scaraboids of the preceding centuries, the 
unperforated ring-stone, generally flat on one side and con- 
vex on the other, became the accepted form. The choice 
of stones is much larger than before, Eastern stones now 
being imported in large quantities. Glass paste is a fre- 
quent substitute. The specimens in our collection (Case 
B) include figures of Apollo and Aphrodite of rather elon- 
gated proportions, several representations of the Nereid 
Galene swimming, and heads of Herakles and Serapis. 
Some of the stones are still set in their original rings of gilt- 
bronze. 

A great technical innovation introduced in this period is 
the cameo. The representation, instead of being engraved 


FIG. 144. RELIEF 
FROM A CANOSA VASE 


Piet NSIC PERIOD 209 


on the surface of the gem, was carved in relief. Such 
cameos naturally did not serve as seals, like the intaglios, 
but were used for the decoration of: vases, utensils, mu- 
sical instruments, and jewelry. A fragment of a sardonyx 
cameo of beautiful workmanship is our only example of this 
period. It represents a Nereid riding ona Triton. 

The Italic gems are of special interest to us in that they 
form an important source of 
knowledge for the early Roman 
art of the Republican period. We 
can distinguish two styles, one 
imitating Etruscan art, the other 
the Greek Hellenistic art, both 
dating from the third and second 
centuries Bc, The gems of the 
former group show their depend- 


: FIG. 145. 
ence on Etruscan art in style COIN OF PRUSIAS I 


and motive. Both the archaic 


and the fully developed style are copied with more or less 
success, but always in the dry, unimaginative manner 
peculiar to Roman work. Ring-stones are in general use. 
The subjects are largely borrowed from those which occur 
on Etruscan scarabs. Heroes are particularly popular, 
especially those from the Theban and Trojan legends. 
Among our stones are representations of Ajax carrying the 
dead Achilles, and of the Spartan hero Othryades writing 
the word v1c1 (“I conquered”’) on a shield of the trophy 
he erected before dying. Several show artisans at work. 
Religious subjects also play an important part, particu- 
larly sacrificial scenes and the consultation of oracles. 
The inscriptions no longer refer to the person represented, 
as in the Etruscan scarabs, nor do they give the name of 
the artist, as in the Greek gems, but designate the owner 
of the seal, generally in abbreviated form, 


Engraved 
Stones— 
Italic 


Coins 


Case L 


210 SEVEN TA, cROOas 


The gems of the Hellenizing group are of a much 
freer style. The subjects of the representations are 
characteristic of their origin. The heroic and religious 
subjects prevalent in the “Etruscanizing”’ group take a 
second place, and Erotic and Bacchic figures now become 
popular. Subjects taken from daily life, animals, and 
simple objects and utensils are likewise common. Our 
stones include several representations of Eros, heads and 
masks, animals, and fantastic combinations commonly 
called grylloi. An interesting scene is the Roman she- 
wolf with the twins, Romulus and Remus, represented 
under the fig-tree, with Roma and Faustulus watching 
them. The inscriptions refer, as in the other stones, to 
the owners of the seal. 

In Hellenistic coins the subjects are usually, though 
not exclusively, portraits of rulers on the obverse, with 
figures of divinities, sometimes copied from statues, on the 
reverse (Case L). In the portraits we note the same finely 
realistic renderings as in contemporary sculpture. The 
heads of Antiochos I1, Prusias I (fig. 145), and Philetairos of 
Pergamon are some of the best examples in our collection. 
On a gold octodrachm of Egypt are portraits of Ptolemies 
I and II with their wives. 


OOUCLIOOWL PALLETS THLE tn get yt MYMEL TEMPO OLOD TOL OPLETEPTEY SP OPOPODLLOOE GLEE Pe POOLE POPP OPED POECEPELEEAAELETEI TO 10 oppo 
t ecememeateataamen eee ORC LMCUNEL CLEP E LEER EM TG © CO UCCES PE OO LLONECLI LSE LEAN CCOOROELL OT CLC M CEST ORECOLELYLE LILO EDLC BELO O EOE ttt DRE ELE EDEL ee TLE DEAE TTFEAIE LOC METS DOO HS 


CL eS ddddddddce cccéedddeeedemZZZZZEXZZXZ ZZ"! 


EIGHTH ROOM 


HELLENISTIC AND ROMAN IMPERIAL 
Ra LO AB eS 


Piece NbURY B.C. TO SECOND CENTURY A.D. 


IN this room our exhibition of Hellenistic art is con- 
tinued. There are included also a number of frescoes and 
other objects of Roman date which show specially close 
affiliation with Hellenistic models. 

Two marble portraits are interesting examples of Hel- 
lenistic portraiture. The head of Chrysippos (Case G; 
fig. 146), which has been mounted on a cast of a mar- 
ble figure in Rome, is perhaps the best extant repre- 
sentation of this eager, argumentative exponent of Stoic 
philosophy (280-207 B.c). The beautifully modeled face 
with its fine skull, pensive eyes, and nervous mouth is a 
masterpiece in both conception and execution. It 1s 
not only a typical portrait of an intellectual, idealistic 
thinker, but it is at the same time a vivid character study 
of an individual human being. We gain an intimate 
acquaintance with the “quick and sagacious”’ Chrysippos; 
and at the same time we obtain a realization. of a typical 
Greek philosopher—quick-witted, analytical, absorbed 
in intellectual problems, and deriving therefrom a poise 


Marbles 
Case G 


Case Q 


Case C 


212 EG HiHy RiGOmt 


and idealistic quality transcending his own individual 
characteristics. 

The draped body (Case Q; fig. 147) is a replica of 
an unidentified portrait, of which there is a complete 
example in the British Museum. We have added a 
plaster copy of the British Museum head to our statue to 
complete the composition. 
It is a good illustration of 
how much the interest of a 
portrait is increased by the 
inclusion of the whole fig- 
ure. The drapery is ar- 
ranged in a few significant 
folds, beautifully composed 
with reference to a general 
design and yet bringing 
out in an admirable man- 
ner both the chief forms of 
the body and the heavy 
quality of the material. It 
is a treatment character- 

FIG. 146. MARBLE HEAD istic of the Hellenistic pe- 

OF CHRYSIPPOS riod and may be observed 

also on our “ Hermarchos”’ 

(fig. 131) and the statue by Zeuxis (fig. 197). The inven- 

tion of realistic portraiture used to be credited to the Ro- 

mans. Examples such as these two figures teach us that 

the Romans merely carried on the traditions of their 
Hellenistic predecessors. 

A marble krater of exceptional beauty is placed in the 
center of the room (Case C; figs. 148, 149). It 1s deco- 
rated with dancing women in low relief, in various atti- 
tudes: on one side, one is playing the double flutes, while 
two dainty figures are dancing to her quiet strains with 


Pee AND ROMAN PERIODS. 213 


moderated steps; on the other side one is playing the 
castanets and her two companions are dancing with heads 
tossed back in evident abandon to her lively music, one 
wielding the thyrsos, 
the other holding a 
wreath. The feeling 
_ of serenity and grace- 
ful animation in some 
of the figures is com- 
parable only with the 
Greek works of the 
best period, and the 
handling of the relief 
technique, with the 
suggestion of distance 
in the farther planes, 
could not be more 
masterly. Though 
each figure is an inde- 
pendent design, not 
immediately related to 
another except for the 
unity of action, the 
composition of each 
set of three figures is 
harmoniously carried FIG. 147. PORTRAIT STATUETTE 
out. And yet we know, WITH HEAD RESTORED 

not only by a compar- 

ison with other works, but intrinsically by its style that 
this is a product not of Greek fifth- or fourth-century art, 
but of the early Roman Empire. It belongs, in other 
words, to the classicist revival of the first century when 
taste reverted to the earlier Greek conceptions after the 
restless exuberance of the intervening period. Since sev- 


214 EIGHTH ROOM 


eral of the sculptors who produced these works call them- 
selves in their signatures specifically Athenians, their art 
is generally referred to as Neo-Attic. 

It should be noted that the surface of the vase was never 
properly smoothed throughout, so that the grooves and 


FIG. 148. NEO-ATTIC MARBLE KRATER 


ridges produced by the depressed contour lines are rather 
conspicuous. A similar roughness is observable in some 
of the figures, especially on the necks and faces; and in the 
flutist the artist while working on the figure changed the 
position of the pipes and has not removed the traces of the 
earlier design. Evidently the last finishing process was 
never applied. A charming feature of this vase is also the 


ewe Net G AND ROMAN PERIODS 215 


little panel with nymphs mounted on a pilaster, above one 
of the handles. A conventionalized fig-tree occupies the 
corresponding space on the other side. 


The head of a child, characterized as Dionysos by the 


wreath of vine leaves and clusters of grapes in his hair, isa 


FIG. 149. NEO-ATTIC MARBLE KRATER 
(OTHER SIDE) 


work of exceptional charm (Pedestal O). The round, soft 
contours of the child’s face are rendered in a lifelike man- 
ner, and the modeling of the cheeks and of the sensitive 
little mouth is of great delicacy. 

A bronze statuette of Aphrodite (Case L; fig. 151) in the 
attitude of the Knidian Aphrodite of Praxiteles is an im- 


Pedestal O 


Bronzes 
Case L 


Case D 


216 EIGHTH ROOM 


portant piece on account of its fine execution and its un- 
commonly large size (height, 1 ft. 82 in.). The graceful 
proportions of the body and the delicacy of the face can 
give us some idea of the powerful charm that was exer- 
cised by its famous original. The surface, however, is 
considerably corroded, so that the beautiful modeling 
which can be seen on the better-preserved parts (such as 
the left forearm, the under side of the right forearm, and 


FIG. 150. BRONZE STATURITE 
SLEEPING EROS 


parts of the back) does not come out to its full value on 
the rest of the statuette. The execution appears to be 
late Greek. 

A charming representation of the god Eros is a statuette 
which shows him sleeping on a rock (Case D; fig. 150). 
The complete relaxation of the child is well portrayed, 
and the modeling, though not of the finest order, appears 
to be fresh and careful Roman work. The conception of 
a sleeping Eros originated in the Hellenistic period and is 
characteristic of the more personal view of that deity 
prevalent during that and later times. It was a favorite 
device for tombstones, though its use was not limited to 
this purpose. 


feeetoalGceAND ROMAN PERIOD:S 217 


A beautiful piece in terracotta is a large statuette of a 


flying Eros (fig. 152) placed in the little adjoining room. 


It has the easy grace and charm of such Hellenistic ren- 


derings. Numerous traces 
of its original colors are 
preserved which add to its 
attraction. The terracotta 
head of a child satyr (Ped- 
estal M) evidently comes 
from a high relief of Ro- 
man date. 

In Case P are several 
smaller pieces of interest. 
A grotesque head and the 
head of a satyr, both in 
marble, are characteristic 
examples of Hellenistic 
realism. A terracotta stat- 
uette of a sleeping negro is 
a sympathetic study, rath- 
er roughly executed. A 
bronze mirror has on its 
cover a representation of 
Eros as a nude, chubby in- 
fant of the Hellenistic 
type with wings spread. A 
marble vase from Athens 
is a rare piece, worked in 
two parts, the body shaped 


FIG. I51.. BRONZE STATUETTE 
APHRODITE 


like that of a pyxis, the neck and mouth like those of an 


oinochoé. 


In our description of the art of the Greek classical 
periods one important branch has so far been omitted— 
the art of painting. We have been able to see only a faint 


Terra- 
cottas 


Pedestal 
M 


Miscella- 
neous 


Case P 


Paintings 


218 EIGHTH ROOM 


reflex of it in the vase-paintings and a few painted grave- 
stones; but the wall decorations and panels, of which we 
hear so much in Greek literature, are lost to us. When we 
come to the Roman period we are more fortunate. A large 
number of frescoes which served to decorate the plastered — 
walls of houses have been preserved through the famous 
eruption of Mount Vesu- 
ViIUS: 11°70; ALD ee ee 
eruption buried Pompeii 
and the neighboring vil- 
las with lapilli and ashes, 
and thus saved them for 
future generations. 

Most of the Pompeian 
frescoes are either still in 
place or exhibited in the 
Naples Museum; but by 
some good fortune this 
Museum has been able to 
acquire a number of 
splendid examples, exhib- 
ited in this room and in 
FIG. 152. TERRACOTTA statuETTE the Southern Colonnade 

FLYING EROS of Wing K. From them 

we can obtain an excel- 

lent idea of the richness and brilliance of ancient house 
decoration. The paintings here shown were discovered 
in 1900 in a villa near Boscoreale, a village on the 
southern slope of Mount Vesuvius, not far from Pompeii. 
A plan of this villa can be seen in figure 153. It shows 
us the typical arrangement of a Roman house in early 
Imperial times. As we enter, we first pass into an open 
courtyard from which branch off the several living-rooms, 
a cubiculum or bedroom, the tablinum or sitting-room, and 


Pena AND ROMAN PERIODS 219 


the triclinium or dining-room. Of the last there are sev- 
eral, a small one, a large banquet-room, and one reserved 
for the summer-time. The villa rustica, or farmhouse, 
which occupies the whole of one side, is an interesting 
feature, showing that the owner of the villa took an active 
interest in farming, 


ohm 
Ces A 
e = 


FIG. 153. PLAN OF BOSCOREALE VILLA 
I, WiLLA Rustica (farmhouse) 7. CuBICULUM (bedchamber) 
Room oF MusIcAL_ INSTRU- 8. TABLINUM pes. : 
MENTS 9. SMALL Room adjoining tri- 
clinium 
AUCES 
F ‘ 10. GRAND TRICLINIUM (banquet- 
PERISTYLIUM (inner court open room) 


to the sky) 
COVERED PORTION OF THE 
PERISTYLIUM 


TRICLINIUM (dining-room) 


SMALL Room near the sum- 
mer triclinium 

SUMMER TRICLINIUM (dining- 
room) 


The technique of ancient fresco painting! seems to have 
differed somewhat from that in use today. The principle 
of true fresco painting is the application of colors on the 


1Our knowledge of ancient fresco painting is derived from extant ex- 
amples and also from a valuable treatise on the subject by Vitruvius 
(Architecture VII, 3). For modern discussions of the subject see the 
works of Berger, Breitschedel, Eibner, Gerlich, and Laurie listed in the 
Bibliography, p. xxxiv. 


220 EGA HY RO On 


wet plaster, when the colors penetrate into the plaster and 
a crystalline layer is formed on the surface. As not all 
colors are suited to this process, some have to be added 
after the plaster has dried, egg or gum being then used 
as a medium to bind the colors. In ancient frescoes the 
plaster was very thick and consisted of a number of layers, 
so that it retained the water for a considerable time, and 
the painter could work leisurely over large surfaces, instead 
of painting in small sections, as became customary later. 
Moreover, by the vigorous beating of each layer, the plas- 
ter became very dense. Another important characteristic 
is the polish given to the brilliant background on which 
the designs were applied. This produced a beautiful, lus- 
trous surface not unlike polished marble, and greatly adds 
to the elegance of the general effect. 

It is difficult to gauge nowadays how extensive was the 
debt which the Roman fresco painters owed to their Hel- 
lenistic predecessors; for little from the earlier period has 
been preserved. It 1s probable, however, that the Romans 
copied extensively what they found ready to hand; for 
during the whole period covered by Pompeian painting 
(about 80 B.c. to 79 A.D.) we have hardly any development. 
Different: styles can be traced, but, as with every eclectic 
school, there is no continued growth. The style to which 
our frescoes from Boscoreale belong is the Second or 
“Architectural” (from about 80 B.c. to the end: of the 
Roman Republic). 

The subjects represented are life-size figures, archi- 
tectural compositions, and decorative designs. Among 
the figures—which decorated the dining-room of the villa 
—the most interesting is that of a lady playing the cithara, 
with a little girl—probably her handmaid—standing be- 
hind her chair (north wall; fig. 154). The expression of 
dreamy contemplation on the woman’s face is well ren- 


Merve NTSTIC AND ROMAN PERIODS 22! 
dered, and there is a quiet dignity about her which makes 
this painting particularly attractive. The treatment of 
details, on the other hand, is sketchy and even faulty. 
The other life-size figures consist of a woman standing 


upright and holding a shield in her left hand, and a group ak 
of a woman and a man seated side by side (south wall). Ge 


FIG. 154. FRESCO FROM BOSCOREALE 


The latter is not well preserved, but that it was a specially 
fine painting is shown by the splendid characterization of 
the woman’s. face. Other figures from this room are in 
the Museum of Naples. Inone scene there is introduced a 
Macedonian shield. This has suggested an interpretation 
of the figures as members of a Macedonian ruling family, 
the nude male seated figure being tentatively identified 
as Demetrios Poliorketes.! 

Among the decorative compositions the most interesting 


1Studniczka, Jahrbuch des deutschen arch. Inst. 1923-1924, pp. 95 ff. 


Pottery 


222 EV LGibl Toe ROG 


are a painting from the tablinum, showing a marble wall 
with a beautiful garland of fruit and leaves (east wall); 
and a fragment from the peristylium with a festoon of 
ripe grain and fruit suspended from a Corinthian column 
(west wall). Near the latter is shown a fragment of an- 
other fresco, not from Boscoreale, with a representation 
of a satyr and the infant Dionysos; the subject is remarka- 
ble, being apparently a free copy after the famous group 
of Hermes and Dionysos by Praxiteles at Olympia. 

While the frescoes so far described are mere fragments 
and have had to be framed as such, the paintings from the 
cubiculum (which appears to have been the chief bed- 
chamber, at least on this floor) were almost completely 
preserved, and could therefore be set up in a small room 
of the size of the original bedchamber (on the west side of 
the gallery; fig. 155). In the farther wall of -this room 
the original window with its ancient grating has been 
reproduced. The frescoes consist chiefly of architectural 
compositions, such as many-storied buildings with high 
portals, projecting balconies, and lofty colonnades. They 
are of fantastic construction but give a pleasing impression 
of spaciousness, and make the room appear larger than it 
really is. On the right side of the window is one of the 
most idyllic pictures that has come down to us from an- 
tiquity. Above, in the distance, we see a garden with 
a terrace overgrown with vines. In the foreground is a 
rocky cave around which grows a spreading creeper. 
Nearby is afountain, on the edge of which is perched a bird; 
others are flitting about or momentarily resting on branches, 
in evident enjoyment of the peaceful quiet of their retreat. 

We have seen how in the Hellenistic period painted 
pottery was gradually supplanted by pottery with relief 
ornamentation. By the first century B.c. this change in 
decoration had become practically universal. Metal 


ATVANODSOT LV VITIA AHL AO WNITNDIGND AHL ‘SSI ‘OIA 


Cases 
B,. Kan 


224 EIGHTH ROOM 


vases served as natural prototypes both in the shapes and 
in the decoration. Among the large mass of Roman ware 
the Arretine pottery stands out as artistically preeminent 
and the most clearly allied to Greek models. Our collec- 
tion of this important ware—which is one of the best in 
existence—is exhibited in this room; the other Roman 
vases will be found in the Roman Court in Wing K. The 
center of the Arretine pottery was the town of Arezzo, 
the ancient Arretium, in northern Italy. The flourishing 
period of the industry appears to have been in the cen- 
tury between about 40 B.c. and 60 A.D. That the vases 
were famous also during the time they were produced 
is shown by their wide distribution, by the references to 
them in ancient literature, and by the fact that they were 
soon imitated not only in Italy itself but all over the 
Roman world. The distinctive features of the Arretine 
vases are that they were made from moulds and covered 
witha brilliant reddish brown (alkaline) glaze. The decora- 
tions consist of figures and decorative motives in relief, 
executed with the greatest refinement and delicacy. Not 
only are the designs beautiful in themselves, but the spac- 
ing shows a highly developed decorative sense. The 
artist probably followed closely, but not slavishly, Hel- 
lenistic models. Our collection includes a few vases (Case 
K), twenty moulds (Cases K and N), and five stamps 
(Case B); and we can thus clearly see the three important 
steps in the production. (Plaster impressions of some of 
the moulds are on the top shelf of Case N.) The moulds 
have the designs in the interior, impressed in the clay 
by means of the stamps, so that they appear as intagli; 
while the vases themselves show them on the outside, 
in relief. Only the vases, of course, are covered with glaze. 
The stamps which made up the designs were used in dii- 
ferent combinations, considerable variety being thus pro- 


Pees tie AND ROMAN PERTODS 225 


duced with comparatively few stamps. Our five stamps 
show the extreme delicacy of the artist’s original work, 
which became somewhat blurred of course in the subse- 
quent processes. They show a satyr playing the double 
fluteseitig,156),.a Nereid on a sea horse, a dancer, a 
youth from a symposium, and a winged genius. Four of 
these figures actually appear on our moulds—slightly 
smaller than on the stamps, for the moulds were stamped 
in leather-hard condition and 
have since shrunk in the firing. 

The subjects on our moulds 
include winged gent, Nereids 
riding on dolphins and sea horses, 
satyrs in a vineyard, sacrificial 
and erotic scenes, dancers, and 
wreaths. Most of the types are 
familiar from representations on 
other Arretine pottery, the slight 
differences introduced being due 
to that love of variety within ap- 

FIG. 156. 
parent uniformity which ani- see ey oe 
mated the makers of these pots, SATYR PLAYING PIPES 
as it did those of the Tanagra 
statuettes (see p. 180). An interesting feature of Arretine 
vases is the inscriptions of the potters which occur on them. 
They are generally signed both by the proprietor and by 
the workman of the individual piece. The best-known 
master is M. Perennius, who must have been the head of 
an important establishment; for his name occurs on many 
of the best extant moulds and vases. Several of our 
moulds and the two-handled cup with the hunting scene 
bear his signature. A few pieces are inscribed Tigranes, 
either part of Perennius’ name, or that of a workman in 
Perennius’ establishment. The one-handled cup is signed 


Gems 


Cases A,E 


220 EIGHTH ROOM 


by Cornelius, another famous master. Philemon, Nicephor, 
and Rodo are the names of the workmen recorded on our 
examples. 

Engraved gems enjoyed a great popularity in the Early 
Imperial period, as is shown not only by the large number 
of examples which have survived, but also from literary 
sources. It is indeed natural that the fashion of wearing 
private seals in a great variety of stones—which could be 
obtained without difficulty from all parts of the empire— 
should appeal to the cultured classes of Romans. The 
subjects represented on these gems cover a wide range. 
Our collection, which is fairly representative, will give 
a good idea of the chief types and styles (Cases A and E). 
Mythological subjects, scenes from daily life, portraits, 
animals, and various objects and symbols are all of fre- 
quent occurrence. The style is either strictly classical, 
following the traditions of Greek art of the fifth and fourth 
centuries B.c., or it shows the influence of Hellenistic art 
in its quieter, more charming aspect. Many of the rep- 
resentations of Eros, for instance, clearly reflect Hellenistic 
conceptions, and some may indeed be later works of that 
period. All the chief tendencies of Roman art are, in 
fact, represented on the gems, and they thus give an 
excellent idea of Roman art in general. The gems in 
our collection are arranged according to subjects. The 
name of the stone and the subject represented are indicated 
on each label, so that a detailed description is here unnec- 
essary. Special mention should be made of some of the 
portraits, a field in which the gem-cutting of this period 
reached its height. The finished elegance of Augustan art 
has indeed nowhere found better expression. Some of the 
gems bear signatures of artists.. 

By the second century a.pD. glyptic art had entered on a 
decline. Of the large number of gems which have survived 


Ponte Ns tl G. AND ROMAN PERIODS 227 


only very few have any artistic 
value. The great majority show 
careless workmanship and monot- 
onous representations. This de- 
cadence is probably to be explained 
by the fact that the gems had 
ceased to be objects of fashionable 
interest, and therefore no longer 
attracted the best workmen. They 
were now merely seals and espe- 
cially amulets; for the belief in the 
magic properties of certain symbols 
had by this time become quite 
general. Our examples are placed 
in Case F. . The scenes represented 
are those common in this period— 
figures of deities, especially For- 
tuna, Nemesis, and Victoria, and 
all sorts of symbols; also a few por- 
traits. 

A number of gems of post-classi- 
cal times are placed in the lower 
part of Case E, for comparison. 
After the Roman period there were 
two epochs in which the art of gem 
engraving again flourished, that of 
the Renaissance and that of the 
eighteenth and early nineteenth 
centuries. The artistsof both peri- 
ods borrowed freely from the an- 
tique. Those of the Renaissance 
were too full of their own individ- 
uality to keep very closely to the 


FIG. 157. ROMAN 
PILASTER WITH 
FOLIATED SCROLLS 
I CENTURY A.D. 


ancient spirit, and Renaissance works of classic subjects are 


Case F 


Case E 


Coins 


Case H 


Architec- 
tural 
Pieces 


Colonnade 


228 PIGHLH 'ROOM 


therefore seldom difficult to distinguish from ancient gems. 
The gem engravers of the eighteenth century, on the other 
hand, had little inspiration of their own, and consciously 
tried to copy ancient work as exactly as possible. Though 
at first this copying was done purely out of admiration for 
the antique, it soon developed with unscrupulous people 
ir.to an extensive output of forgeries. At times, especially 
when designs instead of being imitations are actual copies 
of ancient gems, it is extremely difficult to tell definitely 
whether a certain piece is ancient or a faithful copy. 
Mostly, however, the copyist betrayed himself by a slight 
innovation characteristic of the spirit of his own times 
rather than of the antique. And in a large number of 
cases, notably in the famous Poniatowski gems, the spirit 
and composition are so far removed from ancient work that 
few people would nowadays be deceived by them. 

In the coinage of the later Hellenistic period (after the 
third century B.c.) the fabric becomes broader and flatter 
and the field cluttered with inscriptions. Portraits of 
rulers continue as the chief interest, though as time ad- 
vances these become cruder and at last devoid of artistic 
value. Two of the best examples in our collection (Case 
H) are the heads of Antimachos and that of Eukratides. 

In the northern doorway are two pilasters of cipollino 
marble with an attractive decoration of ivy vines growing 
from amphorae. Among the leaves and berries are insects 
and birds. The date is Roman, of the first to second cen- 
tury A.D. In later times they were recut and used as door- 
jambs, upside down as indicated by the position of the 
hinges. Another beautiful piece of Roman architectural 
ornament is shown in the colonnade (D9). It is a pilaster 
with a design of a cluster of akanthos leaves at the base, 
from which rise foliated scrolls (fig. 157); besides the main 
scrolls, separate little tendrils and flowers issue at various 


Peewee AND ROMAN PERIODS 229 


points, while birds, a lizard, and Eros are introduced in 
the background. The style of the relief is closely allied 
to that of the decorative pieces from the Ara Pacis of 
Augustus; but the execution is not so delicate and crisp as 
in that famous monument. Several pieces from the Forum 
of Trajan are specimens of such architectural decoration 
at a rather later period. A column of the Roman compos- 
ite order is probably Hadrianic. Its decoration is almost 
identical with that of the “Oecus Corinthius”’ of Hadrian’s 
villa at Tivoli. 

Adjoining the Eighth Room on the north side is an 
exhibition of objects illustrative of Greek and Roman life. 
It is described in a separate handbook, by Helen McClees, 
entitled The Daily Life of the Greeks and Romans. 

We pass through the Vestibule which serves as an annex 
to the First Room into the Central Hall of Sculpture. 


CENTRAL HALL OF WING J 
GREEK SCULPTURE 


SIXTH TO FIRST CENTURY B.C: 


IN the absence of Greek paintings, which have practi- 
cally all perished, and of architecture, which can rarely 
be transported, sculpture is the only form of high art 
practised by the Greeks which can be adequately shown in 
a museum. A collection of Greek sculpture, therefore, as- 
sumes great importance: it represents for us the highest 
expression of the Greek genius. The gifts of the Greek 
artist could indeed find no more natural outlet than in the 
field of sculpture; for here he had full scope for his wonder- 
ful sense of form, structure, and line, and he could express 
his ideal of spiritual and bodily beauty. 

The Greek sculptor tried his versatile powers on all 
materials ready to his hand; besides marble he used 
wood, limestone, bronze, terracotta, gold, silver, ivory, 
bone. But a history of Greek monumental sculpture now 
deals largely with marble works; for marble, being less 
perishable, less easily portable, and having less intrinsic 
value than some of the other materials, has stood the test 
of time better than they, though the mutilated condition 
of most Greek marble statues is eloquent testimony to 


Powe SCULPTURE 231 


the vicissitudes through which 
they, too, have passed. 

The marbles at the disposal 
of the Greek sculptor—first 
chiefly those from the islands 
of Paros and Naxos, and later 
(from about 500 B.c.) also 
that from Mount Penteiikon 
in Athens—were fortunately 
of great beauty; so that he was 
helped, not hindered, by his 
material. He soon acquired an 
extraordinary proficiency in 
working it. In fact, his ability 
to make this hard stone repre- 
sent human flesh and soft dra- 
pery has never been surpassed. 

In our appreciation of Greek 
marble sculptures, we must 
also remember that they were 
always painted. Only a few 
traces of such paint have 
SUrviveqw see, €.2., On our 
exauinies NOs. 1,23, 32, 46, 
56, 61); but they are enough 
to prove the ancient practice. 
This color must have added 
greatly to the general effect; 
for pure white marble in the 
bright sunlight of Greece 
would have been dazzling to 
the eye, and much detailed 
work would have been lost to 
the spectator, 


FIG. 158. 
ATHENIAN GRAVESTONE 
ABOUT 550-530 B.C, 


No. 32 


2 32 CENTRAL HALL OF (Wiaih 


Our collection of Greek sculptures is exhibited in this 
Central Hall; only a few pieces are placed in the side gal- 
leries. The arrangement is roughly chronological, archaic 
and fifth-century examples being placed in the northern 
half, fourth-century and Hellenistic ones in the southern 
portion. The pieces are described in the order of their 
periods, so as to enable the visitor to study the develop- 
ment of Greek sculpture. With each section should be 
compared the other objects of the same period placed in the 
side galleries. [he introductory remarks at the head of 
each chapter describing these galleries apply equally to 
the contemporary sculptures. 

The numbering of the sculptures begins on the left as 
one enters the north end of the hall. The numbers run 
along the left-hand wall as far as the middle doorway, 
returning on the opposite side, then passing to the sculp- 
tures on the middle of the floor; and similarly with the 
south half of the hall. 


ARKRCHAICeR ERG 


600-480 B.C. 


The earliest marble sculptures in our collection belong 
to the archaic period of the sixth century B.c., a time 
when stylization took the place of the later naturalism. 
They must not be judged therefore by the standard of cor- 
rectness or truth to nature, but by their decorative quality. 
And in this feeling for design—so important in any work of 
art—they will be found superior even to the later products. 

Foremost among our early pieces is an Attic grave 
stele or tombstone, consisting of a tall, slender slab 
mounted on a base and crowned by a finial (No. 32, in 
the center of the hall; fig. 158). It is the largest and 
probably the most important grave monument of this 


foten SCULPTURE 233 


epoch in existence. As was customary on the grave 
monuments of this period, the front of the slab bears a 
full-length representation in relief of the deceased. In- 
stead of the usual single figure, however, there are two, 
a youth and a young girl, probably brother and sister, 


FIG. 159. DETAIL FROM ATHENIAN GRAVESTONE 


They stand side by side in rigid attitudes. The youth 
is nude and holds a pomegranate in his left hand, while 
an aryballos, or athlete’s oil-flask, is hanging from his 
wrist. ‘The girl is fully draped and holds a flower in her 
left hand. A good deal of both figures is missing and has 
been restored in an outline sketch from the analogy of 
similar figures. The fragment containing the head and 
hand of the girl is a reproduction in plaster of the original 
piece which is in the Berlin Museum. The preservation 


234 CENTRAL HALL OF WING J 


of the surface, moreover, is uneven. The lower part of 
both figures is much weathered; while the heads of the 
youth and of the girl (in Berlin) are as fresh as when they 
left the sculptor’s hands. 

An interesting feature of this stele is the extensive re- 
mains of paint which are preserved on it, both on the slab 
itself (on the eye and hair 
of the youth and on the 
background) and more 
especially on the finial. 
The latter was decorated 
with a painted design of 
a palmette and _ scrolls, 
which is still faintly visible 
(see tail-piece, p. 283). 
The finial was originally 
crowned by a statue of a 
lion or griffin, of which 
only the paws have been 
preserved. Another feat- 

- ure which adds to the im- 
FIG. 100. : 
MARBLE HEAD, APOLLO type POrtance of this stele is 
VI CENTURY B.C. the dedicatory inscription 
on the base, part of which 
is still extant. From it we learn that Me|gakles| dedi- 
cated this monument to his son. 

For the study of Greek sculpture the most important 
part of this imposing monument is the head of the youth 
(fig. 159), which is an admirable example of archaic work. 
An analysis of it will help us to understand the aims and 
problems of the sculptor of that period. The two chief 
vehicles for expression in the human face—the eye and the 
mouth—are also those most difficult of representation. 
The archaic sculptor realized their importance and spent 


See nwKe SCOLPTURE 235 


his best efforts in their study. But instead of a natural- 
istic rendering—which he had not yet attained—he had 
recourse to highly decorative conventions. The eye, 
though seen in profile, is represented in full front, with the 
eyeball very prominent. The transition between the 
corners of the mouth and the cheek instead of being 
gradual is abrupt. Each feat- 
ure is sharply outlined in 
precise, effective fashion. The 
hair too is beautifully stylized. 
On the skull it is represented 
as a slightly wavy mass, while 
the ends along the forehead 
and on the neck are rolled up 
into two rows of spiral curls. 
Added to his feeling for design 
the artist had a fine apprecia- 
tion of the softness and deli- 
cacy of human flesh, and was 
able to bring out the contrast 
eee eee oC MOduIatIONS 5. (161. MARBLE HEAD OF 
of the youth’s face and the youTH. BEGINNING OF 
hard surface of the _ back- eR ec 
ground. 

Two heads in the round, one of marble (No. 4; fig. 160), Nos. 4, 
one of terracotta (No. 5), both broken from statues of 
the early “Apollo” type, show the same limitations and 
decorative sense of the archaic artist. They are conceived 
as strictly four-sided instead of rounded, each side being 
kept more or less in one plane, with a resultant confusion 
in the interrelation of the various features. Thus, the 
eyes and the cheekbones are too prominent and the lips 
instead of passing naturally into the plane of the cheeks 
are brought up at the corners to form an “archaic smile.”’ 


2 


No. 22 


Nos.18,19 


230 CENTRAL HALL OF Wiig 


In the marble head the jawbones are concave instead of 
convex. But the sharply defined contours and the con- 
ventionalized hair give style to the whole. A fragment 
of a third head, of terracotta (No. 22), is slightly larger 
than life size and may come from a temple image. Even 
in its fragmentary condition we can sense the majesty of 
the figure. There are extensive traces of the original col- 
oring—a cream engobe over the surface and black for the 
eyelashes and the iris. 

The development reached in the rendering of the head 


PIG. s1Gg. 
LIMESTONE BASE OF A GRAVE STELE 


toward the end of the archaic period (after 500 B. c.) can be 
nicely studied in two heads, one broken from a grave relief 
(No. 19), the other from a statue (No. 18; fig. 161). The 
planes are now better interrelated, the form is slightly 
rounded, and yet the former sense of design is still very 
apparent. In the head in relief the eyes were originally 
inlaid in another material and are now missing. The sur- 
face for the hair is merely rasped, while in the other head 
it is kept flat. Both were dependent on color for the 
differentiation. 

The treatment of the body by the archaic Greek artist 
can be best studied in the fragment from an Athenian 
grave Stele (No. 1). This shows the lower part of a youth, 
with one hand hanging loosely by his side, the other 


Pere GUL. P TURE 2 37 


grasping a staff. There are many obvious mistakes in 
modeling, but the artist’s fine simplicity of treatment and 
his feeling for beauty of contour give distinction to his work. 
As on the other stele, the background is painted red; any 
other colors that were originally used have now disappeared. 


FIG. 163. 
SPHINX FROM A GRAVESTONE 


A third grave stele has a painted instead of a sculptured 
representation (No. 20, west wall). Unfortunately, the por- 
tion of the slab with the upper part of the figure is miss- 
ing, and even on what remains the design is not in good 
condition. We can still distinguish, however, the lower 
part of a nude man in profile to the right, similar to those 
on the stelai just described. The background is painted 
red, against which the figure stands out white in the color 


No. 20 


No. 2 


No. 23 


238 CENTRAL HALL OF WiNaome 


of the marble. That this was the original effect is not at 
all certain; for the body may very well have been painted 
a different color, which did not weather so well as the red, 
and has therefore completely disappeared. For from the 
remains of color on other stelai we know that the red paint 
was by far the most durable. The akroterion or finial has 
an ornament consisting of a palmette rising from volutes, 
the leaves of the palmettes being painted alternately red 
and grayish blue. The inscription on the base (which 
is soldered to the slab with lead) reads ANTIAENEI: 
PANAIS+ES:EP E®EKEN, “Panaisches dedicated this 
to Antigenes.”” We may suppose that Panaisches was the 
father of Antigenes and set up the monument to his son, 
who died while still young. 

A limestone base of such a stele (No. 2; fig. 162) 
has a dedicatory inscription composed as an elegiac 
couplet in Attic letters of the sixth century: “ Amphichares, 
the dead youth’s father, mourning a good son, erected this 
stone to Chairedemos. Phaidimos made it’’—a typical 
Greek epitaph in its restraint and adequacy. In Athens 
is another piece of Phaidimos’ work—the lower part of 
a stele with parts of two feet and a dedicatory inscription. 

Of two other grave monuments only the crowning mem- 
bersare preserved. Oneis inthe form of asphinx surmount- 
ing a four-sided capital and inscribed . . Awo wrynua eiue, 
“T am the monument of [Phillinos’’ (No. 23; fig. 163). 
She is in the early archaic attitude, the trunk and legs 
in profile, the head in full front, similar to the fa- 
mous sphinx from Spata in Attica. The feathers on 
the breast and on the stylish, sickle-shaped wings are 
incised (on the front only) and were originally painted in 
brilliant blue and red colors of which traces still remain. 
The modeling of the body is rather primitive, with mere 
surface incisions for a few important muscles, hardly any 


GREEK SCULPTURE 230 


differentiation of planes; so that the date cannot be later 
(and may be earlier)than the middle of the sixth century 
B.c. We have here, then, an example of Athenian sculp- 
ture of the sturdy type of the Akropolis Calf Bearer, before 
the introduction of lonic influence. The sphinx was 
evidently intended to be placed high, for the upper faces 
of the plinth and of the wings are left unfinished. We 
must imagine it, therefore, mounted on a tall slab, prob- 
ably decorated with a “‘por- 
trait” of [Phillinos, either 
painted or in relief, similar 
to the youths on our Nos. 1 
and 20. 

The other finial is in the 
form of a four-sided capital 
with a spreading curve sur- 
mounted by an oblong 
abacus (No, 3; fig. 164). 
It is decorated with an 
incised lotos ornament and ECON A KROTERION 
rosettes, very effective in OF A GRAVESTONE 
design, dating soon after 
the middle of the sixth century B.c. 

The draped female type is represented in our collection 
by two statues. One is a torso from the island of Paros 
(No. 24; fig. 165), of the same style as the famous “ Maid- 
ens” in the Akropolis Museum.! Like them she is stand- 
ing in a stiff attitude, and is wearing a chiton, or 
undergarment, and over it a mantle arranged in elaborate 
folds. One arm was bent at the elbow and must have 
grasped an offering, while the other was lowered to hold a 
fold of the drapery. In spite of the mutilated condition 


1Colored reproductions in plaster of several of these Maidens will be 
found in our collection of casts. 


No. 24 


No. 26 


240 CENTRAL HALL. OF Wiha 


of the statue we can still appreciate, especially on the back, 
the fine understanding which the artist showed in the ren- 
dering of his drapery. The treatment of the folds, though 
conventional, is highly decorative, and the importance of 


FIG. 165. 
STATUE OF A WOMAN 
VI CENTURY B.C. 


having the figure felt through 
the drapery is fully realized. 
In this respect the statue is a 
true precursor of the famous. 
Nike tying her sandal, pro- 
duced about a century later. 
The other female statue, 
probably from the neighbor- 
hood of Laurion, represents a 
girl standing in the same stiff 
attitude, holding a rabbit in 
one hand, a pomegranate in 
the. other (No, 26;5iem160), 
She wears only the chiton, 
which is girt at the waist and 
pulled out at the sides. The 
skirt part is not allowed to 
hang freely, but is drawn tight 
with a fold of drapery tucked 
through the belt. It will be 
readily noticed that there is a 
discrepancy in style between 
the head and body. The head 
is not genuinely archaic either 


in features or in headdress; the rear view of the statue 
shows that the head had originally long hair hanging 
down the back. The present head is, however, neither a 
modern work nor one of the familiar “archaizing’”’ works 
of the Roman period. The only plausible explanation is 
that the statue was damaged in ancient times and was 


FIG. 166. 
GIRL BRINGING OFFERINGS 


No. 21 


No..10 


2A2 CENTRAL HALL |O FP (Wa eeee 


supplied with a new head in the fifth century B.c., to 
which period the style of the head-dress points. At the 
same time a new left arm holding an offering was supplied. 
Originally it was brought down to grasp the drapery, as 
suggested by the evident reworking of this portion. 
Both of these statues were probably erected as votive 
offerings in a temple and represent women bringing gifts 
to a divinity. 

The sense for design of the archaic artist is beautifully 
brought out in a limestone base (No. 21, west wall) deco- 
rated on its four sides with riders on rearing horses—some 
unfortunately very battered. The modeling is wholly 
conventional but the decorative quality of the whole gives 
it beauty. The upper surface shows a round depression 
with two dowel-holes; so that the block must have served 
as a base either of a statue with a round plinth or of a round 
column supporting a dedicatory offering. 


FIFTH CENTURWSp as 


In the fifth century the march toward naturalism made 
ereat strides but there was still inherent a strong feeling 
for composition which gives to the works of this period 
erandeur and detachment. 

The nude male type of the fifth century B. c. is shown in 
several beautiful examples in which a progressive de- 
velopment can be studied. A fragmentary bronze torso 
(No. 10, east wall; fig. 167) dates from about 480 B.c., 
the period just preceding the full fruition of Greek art. 
Considering the rarity of Greek bronze statues (only an 
accident preserved some from the melting-pot), even this 
fragmentary piece is of great value. Enough remains of 
the left side and of the back for us to realize and enjoy its 
singular beauty. (In the front it is a little caved in and the 
modeling here is therefore somewhat confused.) We note 


Seren oe GUL P-TU RE 243 


that the weight is distributed slightly unevenly, so that the 
two sides are no longer identical as in the archaic Apollos, 
and the bones and muscles are now correctly indicated, 
the back and chest being properly curved and the waist 
no longer too slim. We feel it is a human body that can 
function. And with all these 
improvements the sculptor 
has not lost the fine, simple 
conception which made 
archaic art great. The re- 
semblance of our piece to the 
Harmodios of the Tyran- 
nicides and to the Akropolis 
youth No. 608 suggests that 
it is an Attic work of about 
480-470 B.C. 

The upper part of a torso 
of a seated man (No. 14, west 
wall) is a work of about the 
middie. of the century, a 
beautiful piece of simplified 
modeling. It stands midway 
between the Olympia and the 
Parthenon sculptures; forthe — Fic. 167. BRONZE TORSO 
modeling is softer than in the OF A YOUTH 
Olympia figures and yet 
it has not the easy flow of the Parthenon pediment statues. 

The torso of a boy, perhaps of a Niobid (No. 25; fig. 168), 
shows the full development of the second half of the fifth 
century. Complete freedom is now attained in both the 
action and the modeling. But in spite of the violent move- 
ment and the more naturalistic rendering the effect is 
simple and restful; for throughout there is a tendency 
toward broad surfaces rather than detailed elaboration, 


No 14 


No. 25 


No. 28 


No. 29 


244 CENTRAL HALL OF WING J 


The sculptor’s aim was in fact to represent the human 
body perfectly and harmoniously developed without undue 
accentuation of any of its parts. It is this feeling for 
moderation and for pure beauty which gives Greek art of 
this epoch its distinction. 

Another important piece is a fragmentary figure of a 
seated man, considerably 
less than half life size (No. 
28; fig. 169). While the 
torso of the boy was rep- 
resented in violent action, 
this figure is in complete 
repose. The modeling 
shows the same subtlety 
and restraint which we 
noticed in the torso, and 
the same sensitive differ- 
entiation between the hard 
and soft surfaces of the 
body. The identity of the 
figure is not certain. The 
proportions are those of a 

FIG. 108. TORSO OF A BOY man of mature age and 

V CENTURY B.C. ideal type, such as are 
usually associated in Greek 
art with Zeus, whom it possibly represents. There are 
indications that this figure is from a group which perhaps 
decorated a pediment. On each side the drapery is in- 
terrupted by an angular cutting which was evidently 
made for the reception of another figure or large object, 
and on the left side there is a dowel-hole which must have 
served forattachment. The body is, moreover, turned to 
the left, as though toward another figure. 
A third male statue (No. 29) belongs to a different class 


Poet CU LP T.U RE 245 


from the two just discussed, inasmuch as it is not of Greek 
workmanship, but a Roman copy of a Greek work; that 
is, it was executed when Greece had fallen under the 
dominion of Rome, and the Romans were not only import- 
ing Greek originals from Greece, but copying Greek works 
of all periods to beautify their houses and public places 
(see p.286). As explained in the Introduction, such sculp- 
tures, when faithful 
copies of Greek origi- 
nals, are included in the 
section to which they 
stylistically belong. 
This statue represents a 
delicately formed boy, 
about two-thirds life 
size. Though in frag- 
mentary condition, it is 
possible to reconstruct 
the original motive. He 
was standing with his 
weight on his left leg, 


; oe ; 
the right hand resting — 
on a pillar and the left FIG. 169. TORSO OF ZEUS(?) 
hand laid on his back Vo SEBS ES 


The place where the 

pillar was attached is visible on the right thigh, while the 
left hand is preserved at the back. The statue is a variant 
of a well-known type generally called “Narkissos,” the 
position being the same, only reversed. A large number 
of extant copies testify to the popularity of the figure in 
antiquity.! It is generally attributed to the immediate 
circle of the great Argive sculptor, Polykleitos, and was 


1For a list of replicas see A, Furtwangler, Masterpieces of Greek 
Sculpture, p. 272, note 4. 


No. 30 


240 CENTRAL HALL OF WING J 


probably executed by one of his pupils about 400 B.c. 
The execution of our torso is unusually fresh and careful 
for Roman work. 

The statue of a youth, placed on the fountain in the 
Roman Court (Wing K), isa Roman copy of a work dating 


FIG. 170. RELIEF.” GODDESSES 
WITH INCENSE BURNER 


soon after the middle of the fifth century (fig. 171). The 
head is preserved and it is otherwise in fairly good condi- 
tion so that we can enjoy the composition more nearly 
as a whole. Its exquisite poise and simplicity make 
it one of the most attractive pieces in our collection. 
Considerably later in date is another torso of a youth 
(No. 30), standing in an unaffected simple pose, with 


FIG. 171. MARBLE STATUE OF A BOY 


No. 17 


248 CENTRAL HALL OF Wig) 


the same subtle gradation of planes as we noted in the 
other examples, but somewhat softened. 

Fifth-century drapery can be studied in several fine 
reliefs and statues. The earliest represents two goddesses, 
confronting each other 
(the heads are unfortu- 
nately missing), sprinkling 
incense on an incense bur- 
ner (No. 17, west wall; 
fig. 170). Their similar- 
ity to the Demeter and 
Persephone on the famous 
“Eleusinian Relief” in 
Athens (middle of fifth 
century) is immediately 
apparent. The poses and 
the arrangement of the 
drapery are almost identi- 
cal.” Andere sisetuc 
same majesty in the bear- 
ing of the figures, the same 
statuesque style in the 
draperies, the same won- 
derful sense of composi- 
tion in the distribution of 

FIG. 172. GRAVESTONE light and shade. The 

SECOND HALF OF V CENTURY B.C. chief variation is that in 

our relief the incense bur- 

ner takes the place of the Triptolemos and so the action 

is different. Moreover, the execution of our piece is not 

Greek but Roman, as is indicated also by the late form 
of the thymiaterion. 

Three Athenian gravestones with draped female figures 
in relief can be assigned to the second half of the fifth 


FIG. 173. ATHENIAN GRAVESTONE 
SECOND HALF OF V CENTURY B.C. 


No. 13 


No. 6 


250 CENTRAL HALL O-F > Weiiee 


century B.c. One shows a young girl standing and hold- 
ing up in one hand a pomegranate, while the other grasps 
a bag (No 13, west wall; fig. 172). The simplicity of the 
pose and the fine, broad treatment of the folds associate 
this relief with the maidens on the eastern frieze of the 
Parthenon, with which it is no doubt contemporary. On 
another slab is a woman 
seated in a chair and hold- 
ing up an oil-jug, while 
what appears to be a toilet- 
box is resting on her lap 
(No. 6, east wall; fig. 173). 
We have noted in the ar- 
chaic period the custom of 
the Greeks of representing 
on the gravestone the 
deceased as he appeared 
in every-day life. This 
custom continued through- 
out this and later periods. 
FIG. 174. GRAVESTONE We must identify this fig- 
END OF V CENTURY B.C. ure, therefore, with the 
woman in whose memory 
the stone was erected, holding the objects she commonly 
used in her daily life. 

To appreciate the progress made by Greek sculptors in 
the rendering of drapery, it is instructive to compare this 
figure with the two draped female statues of the sixth 
century just described. The difficulties which the archaic 
sculptor had to encounter have now been completely 
mastered. The soft material of the chiton, its numberless 
little folds, and the form of the human body beneath it, 
have all been rendered with the greatest skill; the effect of 
the whole is rich and varied, and at the same time simple 


GREEK SCULPTURE o54 


and dignified. Another characteristic feature is the easy 
posture of the woman. She is seated in-her chair, but 
entirely separate from it. That this quality was only 
achieved after long struggle we shall realize if we compare 
our figure, for instance, with the sixth-century seated 
statues from Didyma (see casts 
Nos. 1240-1243), where the 
figure and the chair are as if 
of one piece. The head of our 
relief is missing. From the 
style of the drapery, however, 
which resembles that of the 
Parthenon pediment  sculp- 
tures, we can date the relief 
about 440-430 B. C. 

On the third gravestone is 
a seated woman, her chiton 
arranged in soft, graceful folds 
(No. 8, west wall; fig. 174). 
In pose and general character 
she recalls the well-known 
gravestone of Hegeso in the 
Dipylon cemetery at Athens 
(see cast No. 618), and may 
therefore be dated toward the 
very end of the fifth century. 
The head is missing. 

The marked transparency of the drapery—a _ char- 
acteristic of this period—is even more accentuated in a 
statue of Aphrodite, an anonymous loan in memory of 
Charles T. Barney (No. 31; fig. 175). It is a replica of 
the famous “ Venus Genetrix”’ type, one of the most grace- 
ful creations of antiquity. It was evidently popular also 
in Roman times, for many copies exist, of which the best 


FIG. 175. APHRODITE 
“VENUS GENETRIX’ TYPE 


Co 


No. 31 


No. 9 


No. 12 


252 CENTRAL HALL OF WING J 


preserved is in the Louvre. Ours, headless and armless 
and discolored by fire, nevertheless brings us perhaps 
nearer to the original, for the execution is more sensitive. 
We have several important heads belonging to this 
period. The earliest is a Roman copy of the Harmodios 
(No. 9, east wall; fig. 176) of the famous Tyrannicides 
group by Kritios and Nesiotes. Though not so well 
preserved as the replica in 
the Naples Museum the 
execution is at least equal. 
Another head of a youth 
(No. 12; fig. 177) belongs 
to the more developed 
period of the second half 
of ~the fifth century. 
Though it is of Roman 
workmanship, the sculptor 
has clearly caught much 
of the spirit of the Greek 
original. The youth is 
characterized as an athlete 
FIG. 170. MARBLE HEAD by the fillet in his hair, 
DERE SRM De. which is the badge of 


victory in an athletic con- 


test. On the top of the head is a small square projection, 
probably a support for an arm, indicating that the 
youth stood with one arm resting on his head. He may 
be interpreted therefore as a victorious athlete resting 
after a competition. To illustrate the idealizing tendency 
of fifth-century Greek sculpture we could hardly have a 
better example; for the head represents in full measure 
the Greek conception of the beauty of young manhood, 
a beauty both physical and intellectual, in which the 
dominant note is serenity. We can well believe that the 


FIG, 77. ATHLETE 
ROMAN COPY OF A GREEK WORK 
OF THE V CENTURY B.C. 


254 CENTRAL HALL OF W Uhre 


Greeks who conceived this as their ideal of beauty also 
adopted “moderation in all things” as the standard of their 
conduct. 

Besides our head, four other replicas of this type exist, 
of which the best known is in the possession of Lord Lecon- 
field at Petworth. The original statue was therefore, no 
doubt, a famous work. Who the sculptor was it is impos- 


FIG. 178. LION 
END OF V CENTURY B.C. 


sible to say with any certainty. The name Kresilas, a 
Cretan sculptor who worked in Athens, has been suggested, 
but the evidence is rather slender. 

A head from a herm, representing a bearded male deity, 
is another beautiful example of idealistic sculpture (No. 7, 
east wall). It is slightly earlier in date than the head 
just described, the treatment of the hair and the severe 
type of face, with its fine dignity and repose, being char- 
acteristic of Attic work of the middle of the fifth century 
B.c._ It is not a Greek original, but a Roman copy. The 
type is known from several other replicas. The special 
deity represented is uncertain, as the type is equally char- 


1See Furtwangler, Masterpieces, pp. 161ff. 


Parekh oC U.P TURE 255 


acteristic of Zeus and Dionysos, and besides the fillet 
in the hair, which would be appropriate to both gods, 
there is no attribute. 

Two heads of youths (Nos. 16 and 17, west wall), both Nos. 16, 17 
rather hard Roman copies 
of Greek works, further 
illustrate the style of this 
period. No. 16 is evi- 
dently a replica of a work 
by Polykleitos, for it shows 
his individual rendering in 
the long angular skull, the 
flat locks curling at the 
ends, the narrow brow, and 
the heavy eyelids. 

The upper part of a 
statue of Athena is another 
Roman copy of a Greek 
work (No. 11, west wall). 
Several replicas of the type FIG. 179. DETAIL: HEAD 
exist, of which ours is OF LION 
perhaps the most sensi- 
tive. The figure is clearly an adaptation of the great 
Athena Parthenos of Pheidias, for the pose and the 
arrangement of the drapery are remarkably similar; but 
the face is oval instead of square, the forehead triangular, 
the helmet was Corinthian instead of Attic, and the whole 
has a younger, gentler aspect. It is therefore probably 
a late fifth-century creation, directly inspired by the 
Pheidian work, but as clearly the product of another 
individuality. In our statue both arms and the top of the 
head (which are missing) were worked in separate pieces 
and attached, as so often in ancient sculpture. 

The statue of a lion (No. 27; figs. 178, 179) isa splendid No. 27 


No. 11 


256 CENTRAL HALL OF WING J 


specimen of Greek animal sculpture. He is represented 
in a crouching position, with mouth wide open, and the 
tail (now lost) lashing his sides. From the point of view 
of superficial likeness it is in several points obviously 
conventionalized. The head is too small, the mane is 
treated in a stiff, unnatural manner, and the foliations of 
the skin round the jaws are, as has been pointed out, 
more canine than feline.t But these are details. The 
chief characteristics of the lion, its fierceness, and the 
strength of its supple body have rarely been better ex- 
pressed. And in this respect many a lion of a later period 
(and especially of our own time) which is more realistic 
in details will seem lifeless and conventional by com- 
parison. 

Our lion is closely connected in-style with the lions 
from the Nereid Monument, now in the British Museum, 
though it probably did not form part of that monument, 
since it appears to be of a different marble. There can be 
no doubt, however, that it is a product of the same period 
and school. 


FOURTH CENT UR 


We shall note as characteristic traits of fourth-century 
sculptors a greater softness and gentleness than in earlier 
work. Naturalism is winning a complete victory and is 
gradually ousting the former feeling for design and compo- 
sition. 

Fourth-century sculpture is represented in our collection 
by numerous examples. They consist of gravestones of 
different types, male and female statues, heads broken 
from statues, and reliefs. 

Among the gravestones the most important is one in 
the form of a shrine with the sculptured slab recessed 


1See John Marshall in the Metropolitan Museum Bulletin, 1910, p. 210. 


FIG. 180. ATHENIAN GRAVESTONE 


258 CENTRAL HALL OF WINteag 


between two pilasters (fig. 180). (Placed in the Fifth 
Room on account of the better light there.) It probably 
dates from the early fourth century, the figures retaining 
much of the early majesty, while the drapery and the 
developed form of the shrine point to the later date. 
The pilasters are both miss- 
ing and had to be restored, 
but the cornice is largely pre- 
served and bears the dedica- 
tory inscription. From this 
we learn that the monument 
was erected to Sostrate, 
daughter of Thymokles of 
Prasiae in Attica. On the 
relief are represented a seated 
man with a girl standing in 
front of him and another 
woman behind him, holding 
a child«by the hance 11s 
clearly a family group. We 
may suppose that the girl 
standing in front is Sostrate, 
probably the daughter who 
has died, and that the others 

FIG. 181. GRAVESTONE OF 
AN ATHLETE are the father, the mother, 
IV CENTURY B.C. and a younger sister. Sorrow 
for the departed is shown 
only in the quiet sadness of the faces, which imparts to 
the scene anelement of pathos difficult to describe. This 
note of genuine but serene sorrow appears regularly on 
these grave monuments and shows us the Greek sculptor’s 
conception of mourning as tranquil resignation rather 
than unrestrained grief. This is the more remarkable 
since we learn from Greek literature and representations 


GREEK SCULPTURE 250 


on some Greek vases that wild manifestations of grief, 
with women tearing their hair, were well known in Greek 
life; but the sculptor felt that such representations were 
no fit subjects for art, and chose instead the quiet scenes 
which make so strong 
an appeal to us today. 
It should be noted 
that the child on this 
relief appears more 
like a diminutive 
adult than a child. 
The inability to repre- 
sent children is general 
in Greek sculpture of 
this and the preceding 
periods. It was not 
until the Hellenistic 
age that children were 
properly studied and 
represented ina lifelike 
manner. 

A stele of similar 
type, but with the slab 
not so much recessed, 
was erected, we learn FIG. 182. GRAVESTONE WITH A 
from the inscription, PEM Len tame 

IV CENTURY B.C. 

to Sostratos, the son 

of Teisandros, of the deme of Paianiea: 2Q2TPATO® : 
TEISANAPO : PAIANIEYS (No. 47, west wall; fig. 181). No. 47 
He is represented in the act of scraping his body with a 
strigil, according to the custom of athletes, to remove 

the dust and oil from his skin. The slave boy by his 

side is holding his garment and oil bottle. The scene 

is a simple occurrence of daily life, but here again a certain 


No. 49 


260 CENTRAL HALL OF WING J 


solemnity is imparted’to it by the dreamy sadness in the 
youth’s face and the wistful expression with which the 
boy looks up at his master. The cornice of the stele 
is decorated at each angle with a sphinx, and in the center 
with a mourning siren, beating her breast with one hand 
and tearing her hair with the other. The workmanship, 
though fresh and vigorous, is careless in detail and finish; 
thus the left arm of the youth, 
which is raised to his head, is 
modeled only on the front, 
where it would be seen by the 
spectator. This carelessness 
in execution is often to be 
found in Greek gravestones 
and is to be explained by the 
fact that the majority of them 
are the work of artisans 
rather than sculptors. Grave- 
stones had to be produced in 
large numbers, and often for 
people who could not afford a 
FIG] OSs ees costly work. Conditions, in 
OF A GRAVESTONE 
IV CENTURY B.C. fact, were the same in this re- 
spect as they are now; we too 
should not expect to find the best contemporary sculpture 
in cemeteries, save in exceptional cases. The fact, how- 
ever, that Greek gravestones, even when not worked with 
ereat care, always show harmonious compositions, beauti- 
ful types of faces, and the restraint of which we have al- 
ready spoken, is testimony to the high level of taste in 
the whole community. 
A third gravestone of this type is decorated with a rep- 
resentation which is the most frequent on these monu- 
ments—a farewell scene (No. 49, west wall; fig. 182). A 


Perea K SCULPTURE 201 


young woman is seated on a chair and is clasping the hand 
of an older woman who is standing before her; between 
them stands another woman carrying a casket. From the 
prominence of her position, the seated woman 1s evidently 
the deceased, while the one whose hand she is holding in 
token of farewell is probably her mother; the latter has cut 
her hair short as a sign of 
mourning. On the entab- 
lature above the relief are 
inscribed the names Lysis- 
trate and Panathenais: 
AY 212 PATH?!: 7 ANAOH- 
NAIS. The first is un- 
doubtedly the name of the 
person for whom the stone 
was erected, that is, the 
seated woman on our re- 
lief. Panathenais may be 
the name of the mother or 
of another member of the 
family who died subse- 
quently and was buried in 


FIG. 184. AKROTERION 
the same plot, the name peice ptecToNE 


being added at the time of IV CENTURY B.C. 
the later burial. It should 


be noted how skilfully the various planes of the relief are 
handled and how clearly thereby the figures take their 
place in a somewhat crowded composition. 

Another type of stele represented in our collection and 
common in Greece during the fourth century is that of a 
tall marble shaft, crowned by a finial in the form of an 
akroterion. Two excellent examples are included in our 


1The tau after the second sigma has been left out, either accidentally 
or through the illiteracy of the writer. 


Nos. 36, 40 


262 CENTRAL HALL "0 Foie 


FIG. 185. ATHENIAN 
GRAVE MONUMENT 


collection (Nos. 36 and 4o, 
east wall; figs. 184 and 183).! 
The motive is the same in 
both—an anthemion rising 
from a bed of akanthos leaves 
with a flower in the middle 
(the stem was painted)—but 
the composition varies as it 
does in all these designs. For 
in the many specimens of this 
kind known we find always a 
touch somewhere to show 
that the lines of the compo- 
sition are felt afresh and that 
the piece is an original prod- 
uct. Mass production of the 
same design was unknown. 
And in spite of the strict 
formalization the feeling of 
plant growth is always ad- 
mirably conveyed. On the 
back of No. 36 (fig. 184) a de- 
sign similar to that on the 
front is roughly sketched, the 
original intention evidently 
having been to repeat the 
ornament front and back, as 
we actually find it in the 
akroterionin Boston (Caskey, 
Catalogue, No. 45). A smaller 


1The shaft belonging to this akroterion was preserved, but has appar- 
ently been lost. The two are published together in Conze, Attische 
Grabreliefs, No. 1539. The inscription on the shaft shows that the 
stele was erected to one Timotheos and to his son Nikon, both of the deme 


of Kephale. 


FIG. 186. EIRENE 
ROMAN COPY OF A GREEK WORK 


No. 52 


No. 50 


264 CENTRAL HALL OF Wiig 


specimen of this type has the anthemion in low relief in 
one piece with the slab (No. 44, west wall). On the latter 
is incised the name of the deceased: Kallidemos, the son 
of Kalliades. 

Besides such decorated slabs the Greeks used as grave 
monuments marble vases, sometimes of large dimensions 
and regularly ornamented with reliefs. The origin of this 
custom is clearly derived from that of placing terracotta 
vases on the tombs as offerings to the dead. A marble 
lekythos in our collection (No. 52, west wall) is decorated 
with a scene representing a man and a woman clasping 
hands, and a seated woman holding out a bird to a little 
girl (fig. 185). The monument was probably raised in 
memory of a woman who is here shown in two aspects— 
in her relation to her husband, to whom she is quietly bid- 
ding farewell, and to her child, with whom she 1s playing, 
as she might have been any day during her life. The exe- 
cution is unusually delicate and careful. 

Among our statues of this period two are monumental 
pieces of importance. One is a statue of Eirene, the god- 
dess of peace, and in its present fragmentary condition 
(the head and both arms are missing) stands about six feet 
high (No. 50, west wall; fig. 186). It is of Roman, not 
of Greek execution, and is a copy of what must have been 
a famous original; for we know of another Roman replica 
in the Glyptothek in Munich, and of fragments from others 
in the museums in Athens and Dresden. From the statue 
in Munich, which is more complete than ours, and from an 
Athenian coin on which the statue is reproduced, we learn 
the original motive of our figure, viz., that she held in her 
left arm the infant Ploutos, the god of wealth, and that her 
right arm was extended and held a scepter. It was, in 
other words, an allegorical representation of Peace, the 
guardian of Prosperity. Such a group is referred to by 


GREEK SCULPTURE 265 


Pausanias, who tells us that it stood in Athens on the 
Areopagus and was the work of Kephisodotos.! The exact 
period of the original Greek statue has been the subject of 
much discussion. The two dates assigned to it are 404 
B.c. and 375 B.c., the years of the end of the Pelopon- 
nesian war and the battle 
of Leukas, respectively. 
From the style of the 
statue it appears to be a 
work belonging to the 
transition between the old- 
er and the younger Attic 
schools; for the treatment 
of the drapery with its sim- 
ple, massive folds, and the 
splendid dignity of the 
posture are reminiscent of 
fifth-century sculpture, 
while the gentle expression 
of the face and the delicate 
turn of the head show the 
influence of new ideas. 

The other large statue is 
likewise a draped female 
figure, of about the same 
height, andits headisalso _‘F!S- 187. TORSO OF ERos 

tee IN THE SAUROKTONOS POSE 
missing (No. 46, west wall). 
It belonged to the Giustiniani Collection and was presented No. 46 
to the Museum by Mrs. Frederick F. Thompson in 1903. 
Though not the work of a great master, it is an impressive, 
dignified piece, typical of its period. The drapery has 
the heavy, dense quality which followed the delicate, 
transparent style of the end of the fifth century B.c. 


1See Pausanias, IX, 6, 1, and I, 8, 2. 


No. 57 


No. 37 


No. 39 


266 CENTRAL HALL OF ithe 


In the fourth century B.c. the nude female form came 
into prominence with Greek sculptors. It had, of course, 
been studied for a long time and represented underneath 
transparent drapery and in statues only partly covered. 
But now completely nude statues became common, the 
delicate proportions and beautiful flowing lines of the 
female body naturally appealing to the softened taste of 
this epoch. The great sculptor Praxiteles appears to 
have been one of the important pioneers in this direction, 
and by the creation of his famous Aphrodite of Knidos 
to have greatly influenced contemporary and later art. 
A charming example of this type in our collection is a small 
torso of Aphrodite (No. 57). The pose is familiar from 
many other representations, so that the Greek original, of 
which ours is probably a Roman copy, must have been a 
statue of considerable fame. The goddess was represented 
as raising both hands to hold her hair, as if to arrange it or 
to wring out the water after the bath. Our fragment will 
give an idea of the graceful lines formed by this movement 
and also of the fine proportions of the delicate, yet well- 
developed body. 

Several figures of youths show the treatment of the 
male body in this period. The life-size torso of a boy 
(No. 37, east wall) 1s a typical example. The easy atti- 
tude, soft, rounded forms, and harmonious curve of the 
figure are characteristic of the work of Praxiteles, and it is 
under his influence that the original of our Roman copy 
was probably created. A comparison with the torso No. 
25 will bring out strikingly the change toward softness and 
elaboration that has taken place in Greek modeling. An- 
other beautiful torso is in the pose of the famous Apollo 
Sauroktonos of Praxiteles, but with wings at the back 
indicating that it represented Eros (No. 39, east wall; fig. 
187). It is evidently a Roman adaptation of the famous 


SER KSCULPTURE 2607 


Greek original, for though beautifully modeled it has not 
the fluidity of Greek work. An Eros in this attitude oc- 
curs on Roman coins from Prusa. 


FIG. 188. STATUETTE OF A BOXER 


A statuette of a boxer (No. 58; fig. 188) is a beautiful No. 58 
Greek original. The lively pose with its graceful curves 
and the soft play of light and shade on the surface make 
it a very attractive piece. Especially fine is the modeling 
of the back. That the statuette was a boxer is suggested 


No. 48 


No. 34 


208 CENTRAL HALL OF WING J 


by the swollen ears and by the action; both hands were 
evidently occupied with the left ear (there are traces of 
the right hand on the left chest and of the left hand on 
the left ear), pulling tight the straps which pass over the 
head, round the ears, and under the chin to protect the 
chief veins, as do the bandages in duelling. Similar ar- 
rangements of straps can be seen in a head in the Capi- 
toline Museum. 

For the study of the head during this period we have 
a number of examples. The earliest is the head of a young 
goddess (No. 48, west wall; fig. 189), considerably larger 
than life size and evidently made for insertion in a statue. 
It is a product of the early fourth century and belongs to 
the transition period between the Pheidian and Praxitelean 
periods; for it combines a fine dignity and simplicity with 
delicate charm. There are few heads, indeed, in which 
the Greek ideal of detachment and quiet serenity has found 
better expression. Its colossal size shows that it was in- 
tended to represent a goddess, and its youthful character 
makes it probable that she was a maiden, not a matron. 
The choice therefore appears to be between Persephone 
and Hygeia. 

A head of a girl, given to the Museum by James Loeb, 
is a typical example-of fourth-century sculpture (No. 34, 
east wall). Compared with the work of the preceding 
period there is a greater softness, which tends to give it 
individual charm in the place of the former more idealized 
and severe beauty. This quality is obtained chiefly by 
the delicate modeling of the surface and by the treatment 
of the eye, which is deeper set than formerly and has the 
lower lid only slightly accentuated. Another difference is 
the more sketchy and consequently more lifelike rendering 
of the hair. The general character of this head and the 


1Brunn-Bruckmann, Denkmiler, pl. 527 and text. 


GREEK SCULPTURE 269 


fact that the back of the head and the left side of the skull 
are only roughly worked suggest that it is from a figure on 


FIG. 189. HEAD OF A GODDESS 
IV CENTURY B.C. 


a grave monument, intended to be seen nearly or quite in 
profile, not from all sides. No. 51, west wall, is another No. 51 
fourth-century example of a female head, unfortunately in 

a mutilated condition. 


270 CENTRAL SHALL OF @ Wig 


In the male heads of this epoch the same changes toward 
greater softness and individualization can be observed as 
in the female heads. Our collection includes some works 
of high merit, foremost among which are two, one related 
to the style of Praxiteles, the other to that of Skopas. The 
Praxitelean piece is the bust of a young athlete (fig. 191), 
evidently a fragment of a statue, trimmed into its present 


FIG. 190. HEAD OF A YOUTH 
SCHOOL OF SKOPAS 


shape in modern times (placed in the Sixth Room, on 
Pedestal L). It is a work of remarkable beauty, and an 
excellent illustration of the refinement and grace of fourth- 
century conceptions. A comparison with the Hermes of 
Praxiteles (see collection of casts, No. 691) shows that the 
two have many common characteristics. Such are the 
rounded skull, the oval contour of the face, the forehead 
protruding in its lower half, and the dreamy half-closed 
eyes. The rendering of the hair is rather different in the 
two heads; but in ours it is no less beautiful, the row of 


FIG. 191. HEAD OF AN ATHLETE 
IV CENTURY B.C. , 


No. 33 


272 CENTRAL HALL OF WING Sie 


graceful little curls crowning the forehead being one of its 
most attractive features. The modeling in our head shows 
great delicacy, especially on the forehead, where it has 
suffered less from the cleaning with acid which the marble 
underwent at some time. It does not, however, approach 
the wonderful subtlety of the Hermes; and it is just this 
consummate treatment of the 
surface which must have distin- 
guished the works of the master 
from the products of his pupils. 
The head may be identified as 
an athlete, rather than a divin- 
ity or hero, from the swollen car- 
tilage of the ears, which, as we 
have seen, is the distinctive mark 
of the boxer. 

Skopas, a contemporary of 
Praxiteles, was one of the most 
individual of Greek sculptors. 
He appears to have introduced 

ae a new element into Greek sculp- 
PORTRAIT OF HERODOTOS tUTe thal sOR titers meme 
and energy. This quality be- 

comes particularly noticeable when compared with the 
calm, dreamy expression of the heads of Praxiteles. An 
excellent example of this tendency in our collection is the 
head of a youth, evidently broken from a relief (No. 33, 
east wall; fig. 190). The expression of fiery energy is con- 
veyed by certain peculiarities of technique. The lower 
part of the forehead is made very prominent so as to pro- 
ject beyond the upper half. The eyes thus appear very 
deep set, an effect which is heightened by the abrupt tran- 
sition from the brow to the socket of the eye; the outer 
end of the upper lid is almost hidden by the overhanging 


FIG. 193. HORSEMAN 
END OF IV CENTURY B.C, 


No. 41 


No 53 


274 CENTRAL* HALL OF “Wiig 


brow. The eye itself is wide open and turned upward. 
The shape of our head is broad and short, though its 
squareness is not so marked as in the two heads from 
Tegea, the chief monuments which have been attributed 
to Skopas (see casts Nos. 716, 717). The treatment 
of the hair with its short, massy curls is also character- 
istic. 

An interesting example of Greek portraiture is the bust 
of Herodotos (484-430 B.c.), “the father of history” 
(No. 41, east wall; fig. 192). It is a late Roman copy 
of an original attributed to the fourth century and is 
identified both by the inscription and by its resemblance 
to the Herodotos of the famous double bust in the Mu- 
seum of Naples (see the cast in our collection, No. 778). 
Though the workmanship is hard and mechanical the con- 
ception has nobility and brings before us in a sympathetic 
way the personality of the great imaginative historian. 
Our bust was presented to the Museum in 1891 by George 
F. Baker and is said to have been found at Benha in 
Lower Egypt. 

One of the most attractive pieces in our collection is 
undoubtedly a small relief representing a horseman riding 
to the right (No. 53, west wall; fig. 193). He is pulling in 
the reins of his spirited animal and is caressing it on the 
head, as if to calm its nervousness. ‘The fine, spirited 
bearing of the horse and the splendid proportions and firm, 
easy seat of the rider remind us of the horsemen on the 
Parthenon frieze; but the more detailed modeling of the 
body of the youth and the more individual type of the face 
place it not earlier than the second half of the fourth cen- 
tury. From two other reliefs with this subject, one in 
the Barracco Collection (see Collection Barracco, pl. LIT), 
the other in the Medinaceli Collection in Madrid (pub- 
lished by Hubner in Annali dell’ Instituto, 1862, pl. F, 


GREEK SCULPTURE 275 


p. 101), we learn that there was originally a second rider 
behind the one preserved on our example. The execution 
of our horseman is greatly superior to that on the other re- 
liefs; so that while ours is certainly of Greek workmanship, 
they appear to be replicas made 1n Roman times. 


FIG. 194. FRAGMENT OF A FIGHTING GAUL 
HELLENISTIC PERIOD 


BeLEENISTIG- PERIOD 


In the Hellenistic period we note a change from the soft 
and gentle fourth-century art to sturdier and more flam- 
boyant conceptions. The modeling now shows many 
planes and sudden transitions, very different from the 
subtle variations of fifth- and fourth-century sculpture. 
The hair too is rendered in irregular tufts of considerable 
depth creating strong shadows. But side by side with 
this realistic trend works in the old idealistic manner are 
produced, slightly modified to suit the taste of the age. 

Our collection includes a number of first-rate sculptures 


No. 54 


No. 60 


276 CENTRAL HALL “OF Wie 


of this period, both of the new realistic and of the old 
traditional school. First may be mentioned a fragment 
of a statue of a fighting Gaul (No. 54; fig. 194). Only the 
lower part of the torso and parts of both legs are preserved; 
but even in its mutilated con- 
dition it shows a great vitality 
and force. It is, infact, an ex- 
cellent illustration of a char- 
acteristic of Greek sculpture, 
that, even when broken, each 
piece is beautiful and retains 
the quality of the whole. The 
statue represents a Gaul strid- 
ing forward to attack an op- 
ponent. He wears the tight- 
fitting trousers and belt of the 
Celtic soldier. But the clothes 
in no way conceal the strong, 
hardy body; the muscles are 
shown at their utmost tension, 
and yet they are not overem- 
phasized, so that the effect is 
one of unusual freshness and 
energy. From the way the 
FIG. 195. MARBLE STATUE left end of the base is worked 
OF AN OLD FISHERMAN it is evident that it was origi- 
nally joined to another base, on 
which we may assume stood the man’s opponent. It 
should be noted that our figure had a marble support from 
the base to the thigh; this practice was common in Roman 
times but is rare in the Hellenistic period. 
The statue of an old market woman (No. 60; fig. 196) is 
an excellent example of the realistic trend of this period. 
A peasant woman, bent with age and toil, is offering her 


WOMAN. 


OLD MARKET 


196 


FIG. 


‘ 


(2) 


= 
G 
‘ 


II CENTURY B 


278 CENTRAL HALL <0 Fo WiiNiog 


wares for sale. By her side are some chickens and a bas- 
ket of fruits or vegetables, while with her right arm 
(now missing) she probably held some similar product, the 
merits of which we may imagine her as proclaiming. The 
ivy wreath encircling the kerchief on her head may indicate 
that she is celebrating some Bacchic festival. It is a figure 
taken from ordinary, 
every-day life, such 
as we still may see 
moving about in the 
market-places of 
Italy and Greece to- 
day. Nor isthe sub- 
ject idealized. The 
stoop of the body, 
the old, weary face,! 
the shrunken skin on 
neck and chest, are 
all copied directly 
from nature. It is 
only in the lower 
part of the figure 
that the old instinct 
FIG. 197. FRAGMENT 

OF A PORTRAIT STATUE for beauty asserted 
itself. The legs and 
feet might, in fact, belong to a young girl; while the dra- 
pery, which consists of the familiar Greek chiton and hi- 
mation, is full of graceful, rhythmic lines. It should be 
noted that small traces of color are preserved on the 
statue—a bright pink on the border of the himation and 
a dark greenish on the sandal strap of the left foot. A 
head from another replica of this statue is in a case in the 

Vestibule leading to the Roman Court. 


1The face has been partly restored. 


GREEK SCULPTURE 279 


The statue of an old fisherman (No. 35, east wall; fig. 
195), unfortunately without head, forms so to speak a 
companion piece to the market woman. He too is a 
man in a humble walk of life, a simple workman pursuing 
his trade; and he is represented in the same strikingly 
realistic manner, with shrunken skin and bent body. It 
is only in the drapery with its simple, effective folds that 
the old traditions are still strong. The better-preserved 


FIG. 198. TORSO OF HERAKLES 
HELLENISTIC PERIOD 


replica of this statue in the Conservatori Palace in Rome 
(see case of comparative photographs) has been restored 
as carrying a net over his left shoulder and holding a stick 
in his right hand; and though we do not know that these 
were the original attributes, we can identify the figure as a 
fisherman by his round hat, which is characteristic of the 
calling. 

A fragmentary statue of Herakles seated on a rock and 
leaning on his club (No. 57; fig. 198) shows the forceful 
modeling of Hellenistic artists. The powerful, relaxed 
frame of the hero is represented not only with thorough 
knowledge of anatomy, but with understanding for the 


No. 35 


No. 57 


No. 56 


280 CENTRAL HALL .OF (Wie 


soft texture of the flesh. Especially beautiful is the un- 
dulating surface on the chest and back. The folds of 
flesh just above the navel are a realistic touch character- 
istic of the age. 

Both in subject and in conception this statue may be 
compared with the famous Belvedere torso in the Vatican 
(see cast No. 841). Our torso is, however, an original 
work, probably of about 300 B.c.; while the Vatican one is 
acopy executed in the first century B.c. Thestatue came 
from Valladolid, Spain, but we do not know whether it was 
actually found there. The polish on the surface of the 
statue is not original (it runs over the cuttings in the 
shoulders), and since this sort of surface gloss is char- 
acteristic of the cinquecento, it has been suggested! that 
the piece was found centuries ago, perhaps in Rome, and 
exported to Spain. 

It became a general custom in the Hellenistic period 
to erect statues in honor of prominent men. This gave 
a new impulse to the art of portraiture. Our collection 
contains several fine examples. One is a portrait statue 
of a seated man wrapped in a large himation or mantle 
(No. 56; fig. 197). The head, which was worked in a 
separate piece and inserted, is missimg; but the costume 
and the general treatment of the figure clearly show that 
a special individual rather than a divinity or hero is repre- 
sented. As a study in drapery this is one of the best 
examples of Hellenistic art which has been preserved. 
The lifelike rendering of the heavy material of the mantle 
and the artistic effect of its simple, sweeping folds give the 
statue an animation and distinction which is quite wonder- 
ful, considering its fragmentary state. In general type 
it may be compared with the famous portraits of “Me- 
nander,” “Poseidippos,” “Aristippos,’ and “Anakreon”’ 


_ 4By John Marshall. % 


Pere k. SCULPTURE 281 


in Rome and Copenhagen (see casts Nos. 892, 893, 804, 
891). On the front of the seat near the left foot is engraved 
the signature of the sculptor: ZEY=l= ETTOHSEN, 
“Zeuxis made it.” Nothing further is known of this artist. 

The other marble portrait in our collection is a head of 


FIG. 199. PORTRAIT OF EPICURUS 
342-270 B.C. 


Epicurus, the founder of the Epicurean philosophy (No. 
38, east wall; fig. 199). It is probably the best of the No. 38 
numerous portraits that have been preserved,! though 
it too is a Roman copy, for the rendering of the hair and 
especially of the beard is rather mechanical. As in most 
of the other heads, he is shown in advanced age and bears 
signs of the long physical suffering which we are told 


1For these see Bernoulli, Griechische Ikonographie, II, pp. 122 ff. 


No. 45 


282 CENTRAL HALL OF WING J 


he underwent in later life. But most conspicuous is the 
nobility of the face, which, though individualized to repre- 
sent the features of a certain person, could serve to typify 
a man of thought and intellect. 

Epicurus was born in 342 B.c. and died in 270 B.c._ It 
is probable that the 
original of this por- 
trait was worked dur- 
ing: his lifetime, that 
is, in the early third 
century sB.c. The 
philosophy of Epi- 
curus was founded on 
the belief that happi- 
ness 1s the chief end 
of man; but by happi- 
ness he meant the 
peace of mind which is 
attained by complete 
independence of phys- 
ical conditions—not 
the sensualism prac- 
tised by his later fol- 


FIG. 200. CROUCHING APHRODITE 
ROMAN COPY OF A III CENTURY STATUE lowers. 


The realistic tend- 


encies of Hellenistic sculpture are well illustrated in two 
other heads of our collection—a bearded head of the same 
type as the Farnese Herakles in Naples (No. 45, west 
wall), and the head of a satyr with swollen cheeks and 
puckered lips blowing the double flutes (No. 43, west wall). 

Several pieces in our collection show close connection 
with the older traditions of Greek art, though here also 
a new spirit actuates the sculptor. A good illustration 
of this is a fragmentary statue of Aphrodite, represented 


GREEK SCULPTURE 283 


as crouching in the bath (No. 59; fig. 200). There is no 
trace here of the former conception of divinities; Aphrodite 
is merely a beautiful woman in an attitude calculated to 
show the human body in a graceful posture. Our statue 
is not an original work of the Hellenistic epoch, but a copy 
executed in Romantimes. The original, now lost, has with 
considerable probability been identified with a work which 
in Imperial times adorned the temple of Jupiter in the 
portico of Octavia, and which was executed by Doidalsas, 
a Bithynian of the third century sB.c. At all events, 
the statue from which ours was copied must have been a 
famous work, for there are a large number of reproductions 
and variations of this subject.1 A comparison between 
the various replicas will show that there was considerable 
difference in the treatment of the subject. The famous 
copy in the Louvre, found at Vienne, France (see Museum 
cast No. 816), differs from ours not only in proportions, but 
also in the modeling. The flesh is represented there as soft 
and flabby, with thick folds round the waist, while the flesh 
in our statue is firm and strong. 

A female head, slightly over life size (No. 42, east wall), 
is probably a work of the third century B. c. It was in- 
tended to be inserted in a statue. 


1See Klein, Praxiteles, pp. 270-272. 


No. 59 


No. 42 


COURT OF WING K 


GARDEN AND NORTHERN, WESTERN 
AND SOUTHERN COLONNADES 


ROMAN IMPERIAMSP Ein Texie 


31 B.C.—FOURTH CENTURY A-D: 


W ITH the triumph of Augustus over his rivals and his 
accession to the head of the Roman state began the great 
era of the Roman Empire. This empire embraced the 
whole Mediterranean world from the Euphrates to the. 
Atlantic. On the south it was bounded by the Sahara, 
on the north by the Danube and the Rhine. Besides 
Asia Minor and northern Africa, it included practically 
the whole of Europe, except the countries now known as 
Germany, Scandinavia, and Russia. Never before had so 
many heterogeneous peoples been brought under one rule. 
It was a task which Greece under Alexander the Great had 
conceived, but not accomplished. Unlike Greece, how- 
ever, Rome had all the qualities that make for empire- 
building. Her genius found its expression in the art of 
government, in organization, and in the making of laws. 
Out of the chaos which had resulted from one hundred 
years of civil war she succeeded in restoring peace and 
order throughout her vast dominions. Even to this day 
we can see traces of her labors. In the remote corners 
of her empire we find remains of the strong walls and 


A: DNIM-dO LUROD 5 FO? Ors 


286 COURT (OF WIN Gane 


fortresses which she built for protection against invasion, 
of the aqueducts by which she supplied the cities with 
water, and of the bridges, temples, gymnasiums, market- 
places, baths, and amphitheaters, which she erected for the 
benefit and amusement of the people. 

It is not surprising that a people whose gifts lay in 
capacity for organization and statecraft, whose characters 
had been moulded by the hard life of the early Republican 
days, did not excel also in artistic imagination. The two 
fields are too fundamentally different to be often com- 
bined. That Roman art and literature stand as high as 
they do is chiefly due to the fact that they are modeled 
on those of Greece; and the Romans deserve full credit 
for recognizing the superiority of Greek intellect and art, 
and of appropriating them for their own. This appro- 
priation was accomplished in different ways. In literature 
it consisted chiefly in borrowing both the outward forms 
and, largely, the thoughts of Greek authors, and welding 
them successfully into a prose and poetry of distinctly 
Roman character. In art the process was not dissimilar. 
First, Greek works of art were imported into Italy whole- 
sale to adorn public places and private villas. Then, as 
the supply of original products began to wane, Greek works 
were copied, either as closely as the copyist could, or with 
alterations and adaptations. Such works were produced 
either by Greek artists, trained in the Greek traditions, 
who came to Rome to work for Roman patrons, or by 
native workmen following in the same footsteps. 

With such an overwhelming weight of influence, it is 
natural that the greater part of the art of the Romans 
was largely an echo of that of their great teacher Greece. 
And though we miss in their products the spirit and vitality 
of Greek work, we must not forget that we owe to them 
much of our knowledge of Greek art; for through them we 


ROMAN PORTRAIT 


202 
REPUBLICAN PERIOD 


FIG. 


288 COURT! 0 Fi Wil NiGuee 


have reproductions of many works which would otherwise 
be entirely lost. 

But in one branch of art, viz., that of portraiture, their 
own native qualities made the Romans achieve real 
ereatness. Helped by their instinct for realism and by the 
importance they placed on character, they successfully 
carried on the realistic portraiture introduced during the 
Hellenistic age and achieved eminent results. The large 
number of portraits which have survived shows that this 
was a natural expression of their gifts. Another char- 
acteristically Roman form of art was the representation of 
historical events. Triumphal arches, columns, and mar- 
ket-places were decorated with reliefs of processions, 
incidents from campaigns, and sacrificial scenes, which 
told the stories of Roman conquest and religion. Deco- 
rative art, moreover, attained a high level in the early years 
of the Roman Empire, though it never reached the mastery 
of Greek design. It can be studied in marble reliefs, in 
painted wall decorations, and in many products of pottery 
or metalwork. 

Our collection of Roman art is exhibited in the court 
and vestibule of Wing K, except for a few pieces shown 
in the Eighth Room. The court has been built as a 
Roman peristyle surrounding a garden with a fountain 
(fig. 201). The setting with its colored architecture and 
growing plants and plashing water is meant to convey the 
general atmosphere in which “antiquities’’ were origi- 
nally seen; at least in Roman times, when much of the art 
was made for the adornment of private houses. And as 
we look at the Greek objects in the Eastern Colonnade 
(described on pp. 134 ff.), they too form a legitimate part 
of the picture, for it was just such spoils as the Greek 
horse that the Romans liked to carry out of Greece to en- 
joy in their own houses. 


Powe N IMPERIAL PERIOD 289 


The alphabetical lettering of the cases begins in the 
Northern Colonnade, continues in the Western Colonnade, 
and ends in the Southern Colonnade. The pedestals are 
numbered and follow the same route, except that they con- 
tinue round the court after the Southern Colonnade. 


FIG. 203. ROMAN PORTRAIT 
REPUBLICAN PERIOD 


In the following description of our Roman sculptures Sculptures 
only those are included which are independent products of 
Roman art; that is, works in which the artist, though often 
strongly influenced by Greek art, did not copy directly 
from Greek models. Those pieces which are faithful 
copies of Greek originals have already been described 
within the periods to which the originals belong. 


Portraits 


2900 COURT (0. F “WON Gar 


Portraiture, being as we have seen a natural expression 
of the Roman genius, had an independent life and passed 
through several stages of development. For a classifi- 
cation of Roman portraits on chronological lines we have 
valuable data at our disposal. We can determine their 
stylistic development by a comparison between them and 
the representations of Roman emperors on coins (a col- 
lection of these is shown in Case We in the Southern 
Colonnade). The shape of busts changed from time to 
time, starting small and becoming larger as time pro- 
gressed, so that for portraits in which the bust form is 
preserved a convenient method for assigning dates is at 
hand. Moreover, the fashion for men of wearing beards 
and for women of dressing their hair varied from time to 
time, a fact which supplies further useful external evidence. 
Our collection of Roman portraits includes examples of 
most of the important periods, so that it presents a good 
picture of the evolution of that art. It was unfortunately 
not always possible to place the portraits of one period 
together, as the general appearance of the court and 
especially the lighting had to be considered; for it seemed 
desirable to put the most important examples in the most 
conspicuous and advantageous places. In the following 
description, however, the portraits of each epoch are 
grouped together. 


REPUBLICAN PERIOD (TILL 31 B.C.) 


During the Republican era the influences which worked 
most strongly on the Roman portraitist all acted in the 
direction of realistic representation. He had before him 
the portraits of Hellenistic sculptors with a strongly 
realistic bent (see p. 211) and the Etruscan terracotta 
heads, which, though inferior in style, were often of very 
lifelike appearance; and he was familiar with the wax 


Rowen IMPERIAL PERIOD 291 


images set up by distinguished families in their houses, 
images which appear to have been moulded over the face 
after death and therefore necessarily realistic. And there 
was also the influence of contemporary ideals. From all 
we know of the Romans of the Republic, they seem to have 
been simple, stern people, without much imagination, so 
that temperamentally a realistic portrait must have 


FIG. 204. ROMAN PORTRAIT 
REPUBLICAN PERIOD 


appealed to them much more powerfully than one with 
idealizing tendencies. It is natural, therefore, that at the 
start Roman portraiture was essentially realistic. 

The style of the Republican period is splendidly illus- 
trated in our collection in the portrait of a man of the 
typical old Roman school (No. 35, Court; fig. 202). He is 
represented as a person of firm will, a strict disciplinarian, 
who spent his life, we may surmise, dealing successfully 
with practical affairs, but with whom idealism played no 
prominent part—the type of Roman, in short, to whose 
energy and character Rome owed her greatness. It should 


No. 35 


No 8 


292 CO.WRT. 0 F-IWel NaC 


be noticed that the hair is represented as a slightly raised 
and rasped surface, probably to be completed by paint. 
Though the lower part of the bust is broken, enough re- 
mains to show that it was small, including only the collar- 
bone and the parts immediately surrounding it, which is 
the form prevalent dur- 
ing the late Republican 
and early Imperial 
periods. 

The head of an old 
man found in Egypt is 
another excellent exam- 
ple of the dry realism of 
Republican portraiture 
(No. 8, Western Colon- 
nade; fig. 203). Itisa 
“speaking likeness”’ of 
a sober, rigid Roman 
with allethesiitite 
wrinkles and furrows 
faithfully shownand yet 
the personality of the 
man finely brought out. 
A head, about half life- 

FIG. 205. ROMAN PORTRAIT size (Case E, Northern 

AUGUSTAN PERIOD Colonnade), turned 
sharply to the right, 
represents a middle-aged man of alert, energetic personal- 
ity. It is executed with great care and finish. A com- 
parison between these heads and the Hellenistic portraits 
of, for instance, our “ Hermarchos” and Chrysippos will 
bring out better than many words the difference between 
Hellenistic and Roman realism. 
_ A fine basalt head of a man, apparently broken from a 


FIG. 206. PORTRAIT OF CALIGULA 
37-41 A.D. 


No. 10 


204 COURT *OF Wil Netra 


statue, may be assigned to the end of the Republican era 
(No. 9, Western Colonnade; fig. 204). He is represented 
as a man full of energy and force and of a rather somber 
temperament. The delicate modeling of the lower part of 
the face, with its masterly treatment of fleshy surfaces, 
is particularly note- 
worthy, especially if we 
consider the difficulty of 
working so hard a stone 
as basalt. 


AUGUSTAN AND JULIO- 
CLAUDIAN PERIODS 
(31B.c.—68 A.D.) 


With the Augustan 
age Rome entered a new 
phase of her history. 
From a small city she 
had at last become the 
center of a vast empire. 
The outlook had neces- 
sarily immensely wi- 
dened. She came in 


FIG. 207. BRONZE PORTRAIT touch with a thousand 
CALIGULA(?) outside influences and 
sie gto ck exchanged the simple, 


circumscribed life of her stern fathers for one of comfort, 
culture, and appreciation of the arts. This change is re- 
flected in our Augustan portraits. One of a young man 
(No. 10, Western Colonnade; fig. 205), in exceptionally 
good preservation, bears a general resemblance to the heads 
of Augustus, as is so often the case in portraits of the Julio- 
Claudian period. The face represents a great contrast 
to the Republican heads, We have no longer the stern, 


ROMAN IMPERIAL PERIOD 205 


rather bourgeois type of the Republican Roman, but the 
smooth, refined bearing of a cosmopolitan gentleman. 
Moreover, the rendering of the features is more general- 
ized, less literal than in Republican times, due to a con- 


FIG. 208. BRONZE PORTRAIT 
AGRIPPA(?) 


, 


scious return to earlier Greek “idealism.’”’ The modeling 
is alive but rather hard. The small size of the bust is 
continued from Republican times. 

A bust of a young man is another unusually good work 
of this period, executed in a beautiful piece of marble 
(No. 29, Court; fig. 206). He is shown as a youth of fine 
bearing and keen intellect, with the type of features 


No. 29 


Case G 


Nos. 5, 6 


No. 40 


No. 32 


296 COURT "OF. WIN Gee 


characteristic of the Julio-Claudian house. We could 
have no better representation of a young Roman aristo- 
crat. The type has recently been identified as Caligula. 
A bronze bust, about half life-size (Case G, Northern 
Colonnade; fig. 207), may represent the same emperor, for 
there is a marked resemblance between the two—both 
have the same long, well-shaped nose, bulbous at the 
tip, the protruding upper lip, the high, straight fore- 
head, and the flat skull which we find also on the coins of 
Caligula. An unusual feature of our bronze head is the 
preservation of the inlaid eyes. They are made of bone, 
with transparent glass for the irises through which we can 
see the modeled pupils—a very effective device. 

Two heads are portraits of Augustus (Nos. 5 and 6, 
Western Colonnade), being easily recognizable by the high, 
square forehead, the rounded, prominent chin, and the 
well-known arrangement of the strands of hair over the 
forehead, which recurs regularly on practically all identi- 
fied portraits of Augustus. Both are good studies, giving 
a fine conception of the serious, cold, but essentially noble 
character of Rome’s first emperor. (Compare also the 
small ivory head in Case O.) 

A bronze portrait head (No. 40, Court; fig. 208) repre- 
sents probably M. Agrippa, the illustrious friend and 
general of Augustus. It was found at Susa near Turin, 
and with it were unearthed fragments of a statue and 
pieces of marble containing a dedicatory inscription to 
Agrippa. The presumption, therefore, is that our head 
was broken from a large bronze statue representing 
Agrippa. | 

The bronze statue of a boy (No. 32, Court; fig. 209) is 
one of the most important examples of this period in our 
collection. The great rarity of bronze statues that have 
survived either from Greek or Roman times, and the high 


FIG. 2090. BRONZE PORTRAIT 
OF A ROMAN BOY 


No. 34 


Nos.12,13 


208 COURT OF WING K 


quality and beautiful preservation of this specimen com- 
bine to make it a piece of first-rate importance. The 
sculptor’s artistic sense is shown both in the conception 
of the whole and in many delicate touches. The pose, 
with the little tilt of the head and the slight curve of the 
figure, is very graceful; and the boyish face has a sensitive- 
ness and a charm rarely equaled in ancient sculpture. 
The nude portions of the body, especially the back and 
the shoulders, are beautifully modeled, with appreciation 
of the delicate forms of a young boy. Moreover, the 
drapery is rendered with unusual skill; it is rich and varied, 
and still essentially simple in its lines. 

The identity of this statue cannot yet be determined 
with certainty. The head shows some of the characteristic 
traits of the Julio-Claudian family; but the likeness to any 
particular prince is not strong, and he maysimply represent 
a private individual. The thoroughly Greek conception 
of the statue shows that the artist was probably a Greek 
who tried to keep alive the great traditions of the earlier 
Greek sculpture. 

The bust of a young man (No. 34, Court) is another 
excellent work of this period. It is remarkable both for its 
finished workmanship and for its excellent preservation. 
The head of a boy in black basalt (No. 25, Court) is an 
attractive portrait of a child. The childish nature is 
well brought out in the rounded contour of the face and 
the small, unformed mouth. The flesh parts are pol- 
ished while the surface of the hair is left dull, the two 
thus forming an effective contrast. 

Two heads, a mother and a daughter (Nos. 12 and 13, 
Western Colonnade), are sensitive studies, further showing 
the general refinement of the Augustan period. They 
are slightly under life-size and originally formed part of a 
funerary relief. 


RAINS PMP ERIAL PERIOD 2909 


FLAVIAN PERIOD (69-06 A.D.) 


The realism inherent in the Roman temperament was 
too strong to be more than temporarily swamped by the 
introduction of Greek idealism. It was not long before 
the Roman spirit began to reassert itself. Thus, the por- 
traits of the Flavian period show a successful combination 
of the two tendencies of 
realism and idealism. The 
style is more individual- 
ized than in the Augustan 
period, and smoother and 
less hard than in the Re- 
publican epoch. Our col- 
lection includes several 
good examples. One rep- 
resents a rather homely 
man in middle age, witha 
round, somewhat fleshy 
face, and a kindly, genial 
expression (No. 15, South- 
ern Colonnade). Another 
is a middle-aged man, 
worked in a marble of a FIG. 210. ROMAN PORTRAIT 
rich yellow tone (No. 23, FLAVIAN PERIOD 
Court; fig. 210), while a 
third represents an old man with upper lip drawn, as 
if from wearing false teeth (No. 28, Court). The char- 
acterization in these heads is simple, yet subtle. In 
each case the sculptor has grasped the personality of 
his sitter with keen understanding and has reproduced it 
in a straightforward manner, without paying regard to 
small, irrelevant details or striving for dramatic effect. 
The result in each case is a lifelike portrait and a fine work 
of art. The bust form during the period is slightly larger 


Case K 


No. 18 


300 GO WRT “OoF ) WOLbNs Gee 


than in the preceding, including the edges of the shoulders 
and of the breast. A smaller work of about this time is 
the bust of a man in Case K (Northern Colonnade), about 
one-third life-size. He wears a paludamentum, or general’s 
cloak, over his left shoulder. 


TRAJANIC PERIOD (Q8~117 A.D.) 

In the Trajanic period the style is still lifelike, but 
less spirited than in the Flavian portraits. The bust form 
is slightly larger, giving the whole outline of the shoulder 
and including the armpit. This period is represented in 
our collection by a fine portrait of a woman (No. 18, 
Southern Colonade; fig. 211), similar in type to those 
generally identified with Plotina, the wife of Trajan. 
She has a sensitive, rather sad face, and evidently wore the 
high coiffure which became prevalent in the preceding 
period and lingered on during Trajan’s reign. In this 
extravagant fashion the hair was worn in a diadem of 
curls in front, and plaited and coiled in a knot at the back. 
In our example the front piece was added separately, and 
is now missing, only the iron dowels for its attachment 
being preserved. 

The head of a youth with thick hair, bushy eyebrows, 
and somewhat heavy, insipid face (No. 2, Northern 
Colonnade) may belong to this period or slightly later. 
It is a good, effective piece of work, in an astonishing state 
of preservation, but the rather decadent type of youth 
contrasts strongly with the sturdy Republicans and the 
intellectual Julio-Claudians. . 


HADRIANIC EPOCH (117-138 A.D.) 

All the emperors from Republican times to the reign of 
Hadrian had been clean-shaven. Hadrian started the 
fashion of wearing a beard, and this was continued to the 


moO AMP E RIAL. PERIOD 301 


time of Diocletian, with the exception only of Valerian. 
Court circles evidently followed the imperial example, 
and most of the portraits are now bearded. A Greek 
element is apparent in the less individualized types, 


FIG. 21I. PORTRAIT OF A WOMAN 
TRAJANIC PERIOD 


due probably to Hadrian’s patronage of Greek art. The 
bust form is again enlarged and now includes a small 
piece of the upper arm. 

A colossal porphyry head (No 20, Southern Colonnade), No. 20 
perhaps of a Roman general, may be assigned to this 
period. It is a remarkable piece of work, especially if we 


No. 24 


Case H 


302 COURT OF: Wl N Gea 


consider the hard, brittle nature of the stone. The use 
of porphyry in plastic works, though known in early 
Imperial times, did not find favor until about this epoch; 
it may readily be admitted that it does not lend itself to 
sculptural work nearly so well as white marble. 

An interesting monument of the Hadrianic period is a 
cippus, or sepulchral monument, with three portrait busts 
worked in relief and placed 
in niches (No. 24, Court). 
They represent a woman 
of matronly aspect be- 
tween two men, evidently 
a mother and her two sons, 
commemorated in a family 
monument. The woman 
is wearing her hair in a 
new fashion, plaited and 
coiled on top of her head. 
A male bust, with a sword- 
strap and a cloak on the 
shoulder (No. 3, Northern 
Colonnade), is another 
good example of Hadrianic portraiture. A bronze portrait 
bust of a bearded, middle-aged man, about half life-size, is 
a beautifully worked piece in exceptionally good preser- 
vation (Case H, Northern Colonnade). 


FIG. 212. LUCIUS VERUS 
161-169 A.D. 


ANTONINE AND AURELIAN PERIODS (138-180 A.D.) 


In the heads of the Antonine and subsequent periods 
important technical changes became general. A certain 
pictorial element was introduced by rendering the hair 
in loose, flowing locks, worked with the drill so as to 
create shadows. The surface of the face was carefully 
smoothed and often highly polished, whereby its whiteness — 


ROMAN IMPERIAL PERIOD * 303 


contrasted vividly with the texture of the hair and beard. 
The result of rather striking naturalness was heightened 
by the treatment of the eye—begun in the Hadrianic 
period—in which the outline of the iris was incised in the 
shape of a segment of a circle and the pupil indicated by 
two drill holes. This 
greatly increased the 
animation of the ex- 
pression. Heretofore 
the iris and the pupil 
had been indicated 
merely by color, which 
in most cases has of 
course disappeared. 
The new style is 
splendidly illustrated 
in a head of the em- 
peror Lucius Verus, 
(161-169 A.D.) broken 
from a relief (No. 14, 
Southern Colonnade, 
e212). tis a'typi- 
cal portrait of the FIG. 213. ROMAN PORTRAIT 
handsome but self- III CENTURY A.D. 
indulgent successor of 
Hadrian and co-ruler with Marcus Aurelius. The bust of 
a middle-aged woman of somewhat bourgeois countenance 
(No. 22, Southern Colonnade) shows the style in female 
hair-dressing prevalent in the reign of Marcus Aurelius 
and adopted by Faustina, the wife of that emperor. 
The hair is parted in the middle, waved to the sides, and 
fastened ina knot behind. The bust shows the enlarged 
form now adopted, in which most of the upper arm was 
included. 


No. 14 


No. 22 


No. 16 


304 COURT OF WING K 


First HALF OF THIRD CENTURY 


' The third century is by no means a time of decadence 
in Roman portraiture, as it is in many other branches of 
Roman art. A fine series of realistic portraits can be 
assigned to this period. The technical innovations intro- 
duced in the preceding century are retained, except that 
the hair is treated differently. Until the time of the em- 
peror Gallienus, 253 B.c., 
it is represented as very 
short and curly, and ren- 
dered by scratches over a 
roughened surface. The 
most important example in 
our collection is the large 
bronze statue in the Fifth 
Avenue Hall, representing 
probably the emperor 
Caius Vibius Trebonianus 
Gallus (251-254 A.D.). The 
attitude and the whole 
bearing suggest that he is 
delivering a speech. The 
face is a fine portrait study; 
it shows a man of somewhat unattractive personality, and 
of a coarse, wilful nature, which is what we should expect 
from our knowledge of this emperor, who was murdered by 
his own soldiers. 

Another important example of this period is the bust 
of a lady of gracious personality and refined features 
(No. 16, Southern Colonnade; fig. 213); especially at- 
tractive is the small, finely curved mouth, slightly turned 
up at the corners. Her hair is elaborately dressed, wavy 
in front, brought down on either side behind her ears, 
and then plaited together and laid against the back of the 


FIG. 214. ROMAN PORTRAIT 
III CENTURY A.D.(?) 


Rowe IMPERIAL PERIOD 305 


head in a broad flat braid. It is the fashion prevalent at 
the time of the Empress Otacilia (244 A.p.), and the large 


size of the bust, which includes the entire upper half of the 


figure, also conforms to the custom of that time. Though 
impressive in a way, the conception of personality is really 
superficial. It lacksa 
living spirit, and we 
soon tire of it. 


GALLIENIC PERIOD 
(253-268 A.D.) 


In the Gallienic pe- 
riod the hair was worn 
fairly long, and it is 
treated in the portrait 
Bisteanea broad, 
Sweeping manner, 
which adds greatly to 
the naturalistic effect. 
A head of a young man 
(No. 19, Southern Col- 
onnade) is an excellent 
example. The bust of 
a man with dreamy 
eyes and drooping 3 
mouth and chin (No. 17, Southern Colonnade; fig. 214) 
also probably belongs here. It is interesting to compare 
this rather effeminate Roman general with the Republican 
bust No. 35 to see what a difference two or three centuries 
had wrought in the Roman character. 


FIG. 215. HERAKLES AND THE 
ERYMANTHIAN BOAR, ARCHAISTIC 


CONSTANTINE PERIOD (305-337 A.D.) 


Portraits of this period are rare. We possess only one 
example, a considerably restored head of the Emperor 


Nos.17,19 


No. 21 


Idealistic 
Sculpture 


No. 1 


306 COURT OF WING K 


Constantine from the Giustiniani Collection (No. 21, 
Northern Colonnade). Its colossal size and strictly fron- 
tal position—current at that period—give it a monumental 
quality; but the execution is cursory and shows the deca- 
dence that Roman art had reached by the beginning of 
the fourth century A.D. 

In the field of idealistic sculpture Roman art was frankly 
imitative. We have al- 
ready described those 
pieces in our collection in 
which the Roman artist 
copied directly from Greek 
models. In a large num- 
ber of cases the works are 
not direct copies, but adap- 
tations. 

Two pieces in our collec- 
tion are examples of “ar- 
chaistic’’ work, in which 
the sculptor affected the 
Greek archaic style. One 

FIG, 210, SARE Leese is a relief of Herakles 

OF ATHENA, ARCHAISTIC Z 5 
carrying the Erymanthian 

boar (No. 1, Northern Colonnade; fig. 215). As is natu- 
ral when an artist of a late, sophisticated age tries to 
express the limitations and vigor of early art, he was in- 
consistent and introduced elements of later periods. Thus, 
the head of Herakles is treated in the genuine archaic 
manner, and something of true archaic sturdiness is shown 
in the modeling of the right shoulder and arm. The ren- 
dering of the body and legs, however, shows the facile but - 
academic skill of a later age, when human anatomy was 
no longer an object of absorbing study, but could be repre- 
sented correctly even by minor artists. The device of 


Rasuen VE P re RAL oP E RIOD 307 


making the hind part of the animal disappear, so to speak, 
into the relief, as well as the rendering of the tree stump, 
are foreign to early art. | 

A head of Athena is a beautifully modeled piece (No. 38, No. 38 
Court; fig. 216), treated in the delicate, refined manner of 
the best early work, 
and in the rendering 
of the features the 
artist has caught 
much of the archaic 
spirit; only the mobile 
mouth betrays the 
later artist. 

The bronze statue 
OF-a.Gamiullus, that 
is, a boy who assisted 
at religious ceremo- 
nies, 1S an attractive 
piece of the earlier Im- 
perial epoch (No. 31, 
Cairicwie..217):; He 
iserepresented .as 
standing in an easy 
pose, his right hand 
holding a staff, while 
the left probably 
grasped an incense 
box. He wears a tunic which falls in simple and effective 
folds and is inlaid with narrow bands of copper. 

Another important piece is the large bronze statuette of 
an image of the great nature goddess Kybele on her pro- 
cessional car, drawn by two lions (Case S, Western Colon- Case S 
nade; fig. 218). The worship of Kybele in Rome dates 
from the year 204 B.c., when, in obedience to a Sibylline 


No. 31 


FIG. 217. -BRONZE STATUS 
A CAMILLUS 


No. 36 


308 COURT *<O.F° WEN Gar 


edict, her image was brought from her Phrygian home and 
placed in a temple on the Palatine. From that time on, 
her cult became very popular, and various ceremonies 
were observed in connection with it. The two chief feat- 
ures in the legend of Kybele were the loss of her lover 
Attis and his subsequent restoration, Kybele symbolizing 
the earth, and Attis vegetation. Both in Phrygia and 
later in Rome a yearly festival was held in which wild 


FIG. 218. BRONZE GROUP 
THE IMAGE OF KYBELE ON HER PROCESSIONAL CAR 


manifestations first of sorrow and then of rejoicing com- 
memorated these two events. One of the ceremonies ob- 
served in Rome on this occasion was the carrying of the 
statue of Kybele on her chariot from her temple on the 
Palatine to the banks of the river Alno, where both were 
bathed, and then brought back to the temple. It is this 
ceremony that the group in this Museum probably com- 
memorates; for the proportion of the figure of Kybele to 
the lions clearly indicates that not the goddess herself but 
her image is here represented. 3 

A basalt statuette of a faun (No. 36, Court) dressed up 
in the lion’s skin of Herakles, and a male torso (No. 27. 


Pos IMPERIAL PERIOD 309 


Court) are good examples of modeling in this hard stone. 
A goat, lying on a slab with its legs tied together (No. 37, 
Court) may be a votive offering, of either late Greek or 
Roman date. 

The bronze statuette of a female panther (Case D, North- 
ern Colonnade; fig. 219) is a remarkable example of ancient 
animal sculpture. The wonderful way in which the cat- 


Pree G.. BRONZE STATUETTE 
A PANTHER 


like nature of the beast is displayed in the grinning face, 
the uplifted paws, and the long, lithe body with its many 
curves and hollows, shows that this figure was studied from 
life without any of the conventionalism of Greek art in the 
treatment of animals. The conception is characteristic 
of the Hellenistic period; but the actual workmanship is 
probably Roman, of early Imperial date, since the figure 
is said to have been found in Rome, in a deposit of Roman 
bronzes discovered there in 1880. The whole body of the 
panther, as well as the head, the paws, and the tail, is 
covered with spots which were inlaid with silver. More- 


Case D 


Decora- 
tive Work 


No. 30 


No. 33 


Nos.26, 39 


310 COU RTs,.O F <WiEN Gare 


over, the base on which the panther rests is decorated with 
beautiful inlay work in silver and niello. 

Several examples of decorative work show the con- 
spicuous results obtained by the Romans in that branch 
of art. One of the finest pieces in our collection is a table 
support terminating at each end in a winged monster 
(No. 30, Court; fig.221). Itisornamented on both sides with 
designs consisting of branches of akanthos emerging from 
a bed of akanthos leaves, and decorated intermittently 


FIG. 220. ROMAN SARCOPHAGUS 
CONTEST OF MUSES AND SIRENS 


with clusters of grapes and various flowers and buds. 
Though the design is strictly conventionalized, the details 
are rendered with great truth to nature. 

A table of variegated marble with bronze fittings is 
another pleasing, decorative piece (No. 33, Court). The 
bronze rim around the top of the table has beautiful pal- 
mette and rosette ornaments, inlaid in silver and niello, 
which, originally, when the bronze retained its golden 
color, must have stood out effectively. On the table have 
been mounted three bronze statuettes, of an Eros, a Lar, 
and a Roman priest. A fragment of a pilaster is orna- 
mented with vases and birds in low relief (No. 26, Court), 
A cippus in the form of an altar (No. 39, Court) decorated 
with rams’ heads bears the following epitaph: “To Q. 
Fabius Diogenes and Fabia Primigenia who [the latter] 
lived at Cumae 47 years, a freedman and a freedwoman, 


Roman IMPERIAL PERIOD 311 


the family of Q. F. D. erected [this monument].”’ It may 
be dated to the reign of Claudius (41-54 A.p.) when this 
type of cippus was popular. 

During the Roman Imperial period, especially in the 
second and third centuries, the use of sarcophagi for burial 
purposes became exceedingly popular. ‘They are, in fact, 
the Roman counterpart of the Greek grave reliefs. The 


Pic. 221.) TABLE) SUPPORT 
ROMAN, AUGUSTAN PERIOD 


majority are elaborately decorated on their fronts and sides 
with relief decoration, the subjects being preferably taken 
from Greek mythology. Our collection includes four good 
examples, of which two are placed in the Vestibule and 
two in the Western Colonnade (Nos. 7 and 11). They 
illustrate the able way in which the Romans handled the 
relief technique. No. 7 is decorated with a relief repre- 
senting the musical contest between the sirens and the 
Muses (fig. 220). Two episodes from the fable are de- 
picted. On the left the contest is in progress, the three 
sirens performing, with Zeus, Hera, and Athena acting as 
judges. One siren is playing the double pipes, another is 
singing, while a third is playing on the lyre. On the right 


Sarcoph- 
agi 


NOS a70r2 


Vestibule 


Miscella- 
neous 


Case K 


312 CO:U RT OF | WAM Gee 


side of the picture the triumphant Muses are falling on the 
defeated sirens and tearing the feathers from their wings. 
This sarcophagus is not a recent discovery but has been 
known for several centuries. While in the possession of 
one of its later owners it was evidently used as a chest and 
supplied with the family arms anda hound rampant. The 
subject of the relfef which decorates No. 11 is taken from 
the story of Endymion, the young hunter and shepherd, 
who asked and received perpetual sleep as a gift of the 
gods. The goddess Selene, a crescent on her forehead to 
mark her identity, is alighting from her chariot and is 
stepping toward Endymion, who lies asleep on the ground. 
Aura, an air deity, is standing in front of the chariot, 
suarding the horses. On the left is a charming rural scene 
of a young shepherd who has fallen asleep on a rock, his 
satchel on his back, his faithful dog looking up at him, 
and his flock of sheep and goats pictured above. 

A relief broken from a sarcophagus (No. 4, Northern 
Colonnade) is another beautiful example of Roman work. 
It represents the bringing home of the dying hunter 
Meleager. The body is carried by a friend and two bare- 
foot slaves, and mourners surround the group. The suffer- 
ing in Meleager’s face and the weariness of the relaxed 
limbs are beautifully conveyed. 

Of the sarcophagi in the Vestibule, one has Erotes hold- 
ing up garlands and driving in chariots, and three scenes 
from the story of Theseus and Ariadne; the other is deco- 
rated with Erotes and animals. The latter was found in 
Tarsus and was the first gift received by the Museum 
(1870). 

An interesting little relief belonging probably to the 
Julio-Claudian period is a limestone fragment of a “Tabula 
Iliaca,’”’ an illustrated resumé of the Trojan war (Case K, 
Northern Colonnade). From better-preserved examples 


Peeves MPERIAL PERIOD 313 


we know that originally there was a large central scene 
showing the taking of Troy, surrounded by twenty-four 
small panels illustrating the main scene in each book of 
the Iliad. In our specimen most of the central scene and 
of the smaller pictures from Books XIX to XXIV is 
preserved. Greek inscriptions explain scenes and charac- 
ters. Perhaps such tablets were hung on the walls of Ro- 
man schoolrooms. 

In Cases C and J (Northern Colonnade) and Case O 
(Western Colonnade) have been assembled a selection of 
our finer bronze statuettes and reliefs of the Roman period. 
Two figures of seated Zeus (Case C) holding a scepter and 
a thunderbolt are Roman copies of a fourth-century modi- 
fication of the Pheidian Zeus. A striding Poseidon repro- 
duces the type which occurs on the coins of Poseidonia 
from 550 to 400 B.c. Another Poseidon is similar to the 
fourth-century example in Case G, Sixth Room (see p. 172), 
but the attitude is reversed. A little girl holding a puppy 
is a charming study of child life. A grotesque head and 
the statuette of a dwarf illustrate the popular tendency of 
the period to represent caricatures. The relief of Medusa, 
finely modeled, probably ornamented the end of a chariot 
pole. A rectangular attachment, probably from the prow 
of a boat, has a head of Poseidon in high relief, a good rep- 
resentation of the majestic, turbulent sea-god. A female 
panther is an interesting example of animal sculpture. 

In Case J] we may call special attention to several stat- 
uettes of Lar, a Roman household divinity; a little Roman 
boy wrapped in his mantle, standing in a quiet, pensive 
pose; and a dainty, diminutive statuette of Harpokrates, 
represented as a chubby, winged boy holding his forefinger 
in his mouth. Harpokrates was one of the most popular 
deities in Imperial Rome and was identified with various 
divinities, which explains the different attributes of our 


Bronzes— 
Statuettes 
and 
Reliefs 


Case C 


Case J 


Case O 


Ivory 


Glass 


314 COURT OF WINitaaar 


statuette. A vase with globular body has a charming 
decoration in low relief of children holding garlands and 
hounds pursuing rabbits in a rocky landscape; it is prob- 
ably a Roman copy of a Hellenistic model. 

Among the statuettes in Case O are several of un- 
commonly large size, beautifully preserved; notably two 
of priests wearing mantles and holding incense boxes. 
Three statuettes of Hermes show him with a money pouch 
as the god of commerce, a Roman conception. A standing 
Zeus, with scepter and thunderbolt, probably reproduces 
a Greek statue of the fifth century. Several decorative 
pieces once formed parts of larger objects. Especially fine 
are two ornaments from a couch in the form of mules’ 
heads. The caparison on the neck of one has a meander 
pattern inlaid in silver, and the eyes are made of the same 
metal. ‘Two swinging handles of a pail have attachments 
in the form of a seilenos mask and a lion’s head, the latter 
with mouth wide open serving as a spout for pouring. 

A diminutive head of Augustus in ivory (Case O; fig. 
222) is worked with great delicacy (compare the marble 
heads, Nos. 5 and 6). The resemblance is particularly 
great to the famous statue from Primaporta which was 
erected about 17 B.c., when Augustus was forty-six years 
old. It is to this same period that our little head must 
belong. It is said to have been found in Rome. 

A large proportion of the cases in the Roman section of 
the Court are taken up by the collection of Roman glass. 
This collection ranks now as one of the richest and most 
important in the world, comprising the famous Charvet 
and Gréau Collections (given by Henry G. Marquand and 
J. Pierpont Morgan respectively), as well as an important 
bequest by Mrs. Anna P. Draper. The collection is de- 
scribed in a special pamphlet, so that only a few explana- 
tory words are here necessary. 


Pee IM PER ITA‘L PERIOD 305 


We have seen that previous tothe Roman epoch glass was 
not blown but modeled by hand over a core (see pp. 99 and 
207f.). This method must have been slow and laborious; 
and the use of glass vessels during these periods was con- 
sequently limited, clay vases of every description supply- 
ing the needs of every day. Apparently in the second or 
first century B.c., the blowing-tube was invented, which 
worked a revolution in the 
manufacture of glass. It could 
now be produced easily and 
rapidly, and soon began to 
usurp the place of clay.and be 
employed more and more com- 
monly for the various uses to 
which it is put at the present 
day. 

Besides the plain blown 
elass, shown in Cases M, W, 
and X (Western and Northern 
Colonnades), our collection in- 
cludes glass decorated in vari- 

; avy es PORTRAIT OF THE 
ous ways. The chief varieties ey a ee 
are mosaic glass, commonly 
called millefiori glass (Cases P and We), onyx glass (Case P), 
cameo glass (Case Z), glass blown in moulds (Cases A and 
N), vases with threads of glass applied plastically (Cases 
T and V), cut glass (Case T), and painted glass (Case V). 
In Cases W2 and X is an interesting collection of Roman 
glass beads. A number of Roman cameos, of sardonyx 
and glass paste, are shown in Case Z with the cameo glass. 
The best piece is a beautiful sardonyx with a satyr and 
two maenads, one suckling a panther cub. 

The bulk of Roman glass, especially the plain blown 
variety, shows a certain amount of iridescence. Occasion- 


PiGwa222 5 lV ORY. 


Pottery 


Cases 


JR B 


316 COURT .OF) WINGE 


ally this produces a wonderful combination of colors, and 
forms in fact one of the chief attractions of ancient glass. 
This iridescence was unintentional on the part of the 
makers and is produced by the partial disintegration of 
the glass, caused by its exposure to damp and oxidation in 
the graves. Anespecially beautiful example of such irides- 
cent glass will be found in Case Q. Specimens of true 
colored glass are in Case L. 

We have described on pp. 224ff. the Arretine pottery, the 
most artistic ware of Roman times. Another important 
fabric of this period is that covered with blue, green, and 
brownish lead and alkaline glazes. ‘Ihe vases are generally 
ornamented on the exterior with decorations in low relief, 
consisting chiefly of naturalistic wreaths, more rarely of 
figured scenes. As in the Arretine vases, the origin from 
metal technique is apparent in the decorations as well as 
in the forms of the vases. ‘The favorite shape appears to 
have been a deep cup with ring handles. Several such ex- 
amples, as well as other forms, are placed in Case J, North- 
ern Colonnade. In some, the glaze is still in an excellent 
state of preservation, so that we can form a good idea of 
the original appearance of these vases. Ihe most im- 
portant piece in our collection is a large amphora of 
angular outline with reliefs of Erotes, women, and animals 
(Case R, Western Colonnade; fig. 223). It is covered with 
a beautiful blue-green glaze now partly iridescent. In 
Case B, Northern Colonnade, are several fine pieces, two 
of which are given by J. Pierpont Morgan. An amphora, 
covered with a green glaze with a beautiful silvery irides- 
cence, has a vine leaf below each handle and a frieze run- 
ning round the lower part of the vase. This is made up of 
four different figures, twice repeated: two maenads and two 
draped female figures. The jug with trefoil mouth, on the 
upper shelf, is decorated with a representation of three 


momen IMPERIAL PERIOD 317 


grotesque figures. The technique differs from that of the 

other vases in that the reliefs are not cast from a mould with 

the body of the vase, but are applied separately. This vase 

is said to have been found in a tomb at Olbia in southern 
Russia. Two beautiful bowls bequeathed by Isaac D. 
Fletcher have representations of satyrs with grapes and 
decorative wreaths. In Case J are miscellaneous exam- Case J 
ples of this ware, consisting 
of several vases, two lamps, 
and one statuette. 

What the home of this 
fabric of glazed vases was is 
not certain. The finds seem 
to indicate that most of the 
better specimens came from 
the eastern part of the clas- 
sical world, chiefly from Asia 
Minor and southern Russia. 
The earliest specimens date 
from the third and second 
centuries B.c. In the first 
century B.c. and the first FIG. 223. AMPHORA OF 
century A.D. the ware GLAZED TERRACOTTA 
seems to have gained in 
popularity, and to this period most specimens here shown 
must be assigned. As the technique became better known 
it was imitated in the western part of the Roman Empire; 
but these later specimens are as inferior to the early ones 
as is the provincial terra sigillata pottery (see below) to the 
delicate Arretine vases. 

When fine Italian Arretine ware ceased to be manufac- 
tured, in the second half of the first century A.D., its place 
was taken by the provincial terra sigillata ware, manufac- 
tured chiefly in Gaul and Italy. In technique this is 


Cases UY 


Frescoes 


318 COURT, OF WING&EK 


‘similar to the Arretine fabric, that is, it is often decorated 


with reliefs and is covered with a brilliant reddish brown 
glaze. Artistically, however, it is greatly inferior, the 
reliefs being rough and mechanical in execution and show- 
ing none of the fineness and delicacy of Arretine work. 
They bear, in fact, the same relation to Arretine pottery as 
do the South Italian vases of the fourth and third cen- 
turies to their Athenian models. Our examples of this 
provincial ware are exhibited in Cases U and Y (Western 
and Southern Colonnades). They show the chief shapes 
in use—bowls, plates, cups, jugs, and amphorae—and the 
general character of the decoration. The undecorated 
pieces are often provided with potters’ stamps. 

Besides the regular terra sigillata ware there were a 
number of variations as well as special fabrics. The most 
important of these represented in our collection (Cases U 
and Y) are vases ornamented with medallions, vases with 
“barbotine”’ or slip decoration, vases with stamped and 
incised decoration, marbled vases, and an interesting 
class with painted inscriptions of a convivial character. 
The old custom of modeling vases in human form was 
also retained, as seen in several examples. All these 
wares date from the first to the fourth century A.D. 
They show considerable variety and are often highly 
pleasing in effect. 

On two screens in the Southern Colonnade are mounted 
a series of frescoes discovered in a villa at Boscotrecase, 
not far from Pompeii. The villa was buried during the 
same eruption of Mount Vesuvius (79 A.D.) which pre- 
served the frescoes from Boscoreale (see p. 218) for future 
generations. Two important examples have mythological 
subjects—Perseus rescuing Andromeda from the dragon, 
and Polyphemos and Galatea. The other pieces come 
from two rooms—the red room and the black room. They 


ROMAN AhPERIAL PERIOD 319 


represent the third or “ornate’’ style of Pompeian wall- 
painting, which came into vogue during the reign of 
Augustus and was prevalent until about 50 A.p.; architec- 
tural designs, conventionally treated, divide the walls into 
panels and frame the principal paintings. The occurrence 
of Egyptian figures suggests that this style was developed 
in Alexandria. 

Besides painting their walls with gaily colored frescoes, 
the Romans used other methods for decorating their 
houses. One of these was the employment of stucco orna- 
mentation, principally for ceilings. Beautiful examples 
of such plaster reliefs have been found among the remains 
of houses in Rome itself and also in the well-known tomb 
chambers in the neighborhood of Rome. They were em- 
ployed there for ceiling decoration, often conjointly with 
paintings. Several specimens in our collection, of un- 
known provenance, will give a good idea of this technique 
(placed on tops of Cases M and W, Western Colonnade). 
They are evidently fragments of a large composition and 
consist of single figures, chiefly flying Erotes and women. 
Such panels would be combined with elaborate arabesques 
in harmonious compositions. It is interesting to compare 
such decorations, as preserved, for instance, in the tomb- 
chambers of Via Latina,! with similar work executed later 
in the time of the Renaissance, and to see how much the 
later artists were indebted to Roman models. 

The employment of mural reliefs in terracotta was an- 
other form of Roman house decoration, used on both the 
outside and the inside of buildings. Three good examples 
of such plaques are in our collection (placed on Cases X 
and Y, Southern Colonnade). On two are representations 
of a satyr and a maenad in a Bacchic frenzy; on the third 
is a youth giving drink to a griffin. The compositions 


1For illustrations of these, see G. Ferrari, Lo stucco nell’ arte italiana. 


Stucco 
Reliefs 


Tops of 
Cases 


M,W 


Terra- 
cotta 
Reliefs 


Tops of 
Cases X,Y 


Miscella- 
neous 


320 COURT) OF WeLN Gaan 


show great freedom, the abandon of the Bacchic frenzy 
being particularly spirited. The style and execution are 
similar to those of the Neo-Attic reliefs of the first century 
B.c. to the first century A.D. The paint which covered the 
terracotta has now mostly disappeared, but it must origi- 
nally have added much to the decorative effect. 

In the Vestibule to the north of the Court are exhibited 
miscellaneous Greek and Roman sculptures; also a couch 
restored as a seat given by J. Pierpont Morgan, a valuable 
piece of Roman furniture. Its bone carvings and colored 
glass inlay give a gay effect. Originally it must have been 
considerably longer, and the two curved rests were placed 
at either end. This form of couch is that adopted by the 
Romans from the Greeks and popular with them down to 
the end of the first century A.D. 

To the west of this Vestibule is the “Sardis Gallery.” 


axa DIS GALLERY 


Tuis room is to contain such of the antiquities discov- 
ered at Sardis by Howard Crosby Butler and his associates 
as were presented by the Turkish Government to the 
American Society for the Excavation of Sardis in recog- 
nition of his work and by that society given to the Museum. 
Only a small portion of these objects has as yet been 
installed. By far the most important piece is the lonic 
capital (fig. 224) and parts of a column from the temple 
of Artemis, the fifth largest Greek temple.’ The capital 
dates from the middle of the fourth century B.c. and is 
one of the most beautiful examples of Greek architectural 
carving that has been preserved. The freshness and pre- 
cision of all details—the egg-and-darts on the abacus, the 
palmettes and sheath-like leaves on one side of the echi- 
nus, the graceful scrolls and deep channels of the volutes, 
and the leaves on the bolster are comparable even to the 
Erechtheion products (see p. 147). The temple was oc- 
tastyle, pseudo-dipteral with three columns in front of the 
antae—a unique feature. Two entire columns are still 
standing (there were six up to about 1750), rising to a 
height of 17.81 m. (58 ft. 5 in.) including their plinths, and 
thirteen more exist in truncated form. All come from the 
east end of the temple. The column from which our cap- 
ital is derived is one of two from the inner colonnade which 

1The dimensions were 97.94 m. (321 ft. 4 in.) by 45.51 m. (169 ft. 4 im.) 


322 SAR DIS-GAL lib kee 


stood on either side of the main axis (see plans shown in 
the gallery). They were the only two complete ones, all 
the others having unfluted shafts and unfinished bases. 
The parts of the shaft and the torus combined with our 
capital are not necessarily from the same column, but have 
been added (with missing portions restored in plaster) to 
give an idea of the whole composition. Our capital has 
been fully published by the late Howard Crosby Butler in 
volume II, part I, of the Publications of the American 
Society for the Excavation of Sardis (p. 65, figs. 73-76, pls. 
B and GC, and Atlas, pls. VIII-X1I). The story of its dis- 
covery is told by Mr. Butler in volume I, part I, pp. 52- 
53. It is referred to as capital C and the column from 
which it comes is No. 12 on his plan. 

The wall cases contain some minor architectural pieces 
from the same temple and miscellaneous pottery, bronzes, 
and terracottas found in tombs at Sardis; also an interest- 
ing series of gaily painted terracotta tiles from houses 
found across the river from the temple. 

In asmall case are shown four gold staters from Lydia 
of the time of King Croesus (560-540 B.c.). They are 
part of a hoard found at Sardis in 1922 in the little gray 
jar shown with them. 

Among the most important finds made in Sardis are 
Lydian inscriptions. A marble stele with such an inscrip- 
tion in excellent preservation is shown on the south wall. 
It is published by W. H. Buckler in Sardis, vol. VI, part II, 
p. 40, pl. |X, no. 22, and its discovery is described by Mr. 
Buckler in vol. I, part I, p. 66. It has not been trans- 
lated, for the Lydian language is only slowly being deci- 
phered by the help of some bilingual inscriptions (Lydian 
and Aramaic, and Lydian and Greek). All we know at 
present! is that it is not Semitic or Hamitic and that it is 

1Cf. Littman, Sardis, vol. VI, part I, p. 77 H. 


FIG. 224. IONIC CAPITAL FROM THE TEMPLE 
OF ARTEMIS, SARDIS 


324 SARDIS .GA LDPE 


closely related to Phrygian, Carian, and Lycian. The 
alphabet was probably received from the Greeks, and the 
characters indeed strikingly resemble archaic Greek letters 
in many ways. The relationship between Lydian and 
Etruscan “cannot be denied,” so that the claim of Herodo- 
tos that the Etruscans emigrated from Lydia has received 
support from an important quarter. 


Parallel with the Eastern Colonnade of Wing K and to 
the east of it is a large gallery in which the Cesnola Collec- 
tion of sculpture and pottery from Cyprus is shown. The 
bronzes, terracottas, glass, and inscriptions which form 
part of this collection are exhibited in D14 near the en- 
- trance to the Library. All this material is described at 
length in The Handbook of the Cesnola Collection of Anti- 
quities from Cyprus, by J. L. Myres. Though there are 
some necessary changes in the new installation, the num- 
bers are still the same as in this handbook. The arrange- 
ment is roughly chronological from north to south, begin- 
ning with the Bronze Age and ending with the Roman. 
period. 

To the north of the Cesnola Gallery is a small room in 
which our classical collection of gold and silver objects is 
shown. For reasons of safety these could not be distrib- 
- uted in the period rooms. 


JEWELRY ROOM 


THE material in this room ranges in date from the 
Bronze Age to Roman times and comprises jewelry as well 
as other gold and silver objects. 
A pamphlet on this collection is 
in preparation, so that only a 
short summary is given here. 


GREEK JEWELRY 


The ability of the Greeks to take 
infinite pains shows itself perhaps 
nowhere more strikingly than in 
their jewelry. Here they combine 
an almost incredible minuteness of 
work with an unfailing sense for 
good design. In order to under- 


: : FIG. 225. GOLD 
stand its character and appreciate EARRING. A SIREN 


the difference between it and 
modern work we must remember -that until the time 


of Alexander the Great Greece had little access to pre- 
cious stones. She utilized the quartzes or semi-precious 
stones, especially the carnelian, agate, and chalcedony, 
mostly for seal-engravings; but such stones as the gar- 
net, the topaz, the emerald, the sapphire, whose bril- 
liance and intrinsic beauty make them so popular today, 
were introduced in larger numbers into Greece only after 
Alexander’s Eastern conquests. Mainly from necessity, 


Cases 


MEG 


Archaic 


320 JEWELRY ROOM 


therefore, probably also somewhat from choice, the Greek 
jeweler of the sixth to fourth century B.c. turned his atten- 
tion to the working of the gold itself. The gold was to 
him not a mere background, an appropriate setting for 
colored stones, but itself a vehicle for the expression of 
his thought. And he has shown us the great possibilities 
of this material. His best products in modeling, engray- 
ing, repoussé, and especially in granulation, filigree, and 
plait work, stand as the finest achievements of their kind. 
To appreciate the delicacy of their execution we often need 


FIG. 2260. GOLD ORNAMENTS FOR 
GARMENT OR BELT 


a magnifying glass; and yet the design is so simple that it 
carries well at a distance, the minuteness of the work 
merely adding richness to the general effect. 

The best examples of our Greek jewelry (except the 
pieces in the Cesnola Collection) have been placed in 
Cases M and C. Among the earlier pieces we may call 
special attention to a group of gold ornaments, said to 
be from South Russia (Case M, north end; fig. 226). 
They represent griffins, reindeer, and lions, worked in 
repoussé relief, beautifully conventionalized, in Graeco- 
Scythian style. The rings at the back indicate that they 
were intended to be attached perhaps to a belt or gar- 
ment. A gold ornament with rosettes and a griffin’s head 
(fig. 229), a pair of electron earrings, a large bead given 
by George D. Pratt (all in Case M, south end), and several 


GREEK JEWELRY 327 


earrings in the form of double hooks (Case C) show the 
sturdy and yet delicate work produced in the archaic 
period. Conspicuous examples of the fifth century are 
in Case M, western side. A gold earring in the form of a 
siren playing the lyre, her head sur- 
mounted by a large palmette (fig. 225), 
is a little masterpiece. [he preserva- 
tion, too, is excellent, with no detail 
missing, which is remarkable, consider- 
ing that the figure is made of such thin 
gold that it could easily be crushed be- 
tween the fingers. A gold ring has en- 
graved on the bezel a nude girl in danc- 
ing posture with head thrown back and Heer OF 
arms raised (fig. 228). Though worked  v century B.c. 
on so small a scale, the figure shows a 
simplicity and largeness of style which relate it to big 
sculptural pieces rather than to other miniature works. 
The head of a wild ram in solid gold (fig. 227) is beauti- 
fully modeled in the lifelike yet stylized 
manner of the first half of the fifth cen- 
tury. The shape of the cutting on the 
under side indicates that it either 
formed part of some curving object or 
was cut off from a solid gold statuette. 
In the fourth century the art of the 
Greek goldsmith may be said to have 
attained its highest development. In- 


FIG. 227. 
RAM’S HEAD 


FIG. 228. ; 
BEZEL OF GOLD deed the delicacy and richness of the 


RING. GIRL DANCING best work of this time seem to us noth- 

ing short of marvelous. The compar- 
atively large number of the remains of this epoch also 
point to a flourishing state of the craft. Our collection 
includes a number of first-rate specimens. A beautiful 


Fifth 
Century 


Fourth 
Century 


328 JEWELRY ROOM 


group, said to have been found together in one grave, con- 
sists of a diadem, a necklace, a pair of earrings, a finger 
ring, seven rosettes in the form 
of small flowers, and nineteen 
beads from a necklace (Case 
M, western side; figs. 230, 231). 
The first lady in the land might 
well have been proud of such 
jewelry. The diadem is dec- 
orated with a repoussé relief 
representing Dionysos and 
Ariadne. The necklace is of 
the type common at this time, 
consisting of a closely woven braid of fine gold wire, from 
which pendants are suspended by intertwining chains, 
with rosettes at the points of attachment. Originally the 
petals of the rosettes were 
inlaid with enamel, which 
must have added an at- 
tractive color note. The 
necklace fitted close round 
the neck. The earrings— 
of disk shape with richly 
wrought pendants—are 
likewise masterpieces of 
goldsmith’s work. Other 
necklaces in this case are 
of the same type as that 3 
described above—with FIG. 230. GOLD EARRINGS 
braid, pendants, and ro- 

settes—but each different in details. A chain necklace 
has a central medallion decorated with the head of Diony- 
sos in repoussé relief (Case M, eastern side; fig. 233). 
A gold ornament of pediment shape, decorated in filigree 


FIG. 229. GOLD: ORNAMENT 


GREEK JEWELRY 320 


thread, is another conspicuously fine piece (Case M, 
western side; fig. 232). At the two corners are the fore 
parts of winged horses, modeled in full round. This ob- 
ject evidently served as the back of a fibula, since on the 
reverse side are the remains of a spring and clasp. Several 
gold rings have engraved designs on the bezels—a woman 
scattering incense, a girl dancing, and Aphrodite and Eros 
(Case M, western side). Several silver and gold bracelets 


FIG. 231. GOLD NECKLACE AND DIADEM 


with lion-head attachments illustrate the favorite form of 
this time (Case M, eastern side). The prevalent types of 
earrings are shown in Case C. Two pairs with pendent 
Erotes are of specially fine work. 

When we come to the later periods a marked change in 
the character of Greek jewelry is evident. Colored stones, 
made popular since Alexander’s Eastern conquests, are 
now freely introduced and the jewelry becomes richer and 
more showy in consequence, but the goldwork inevitably 
deteriorates. With so much simpler means for striking 
results at their command, the goldsmiths naturally neg- 


Hellenistic 


330 JEWELRY ROOM 


lected the meticulous work of their predecessors, especially 
at a time when art had passed its climax and was on the 
downward path. We need only examine the diadem with 


FIG. 232. GOLD FIBULA 


garnet center (Case M, eastern side) and the earrings with 
pendent eagles and female heads (Case C) to realize what 
has happened. ‘The things are still pretty and effective, 


FIG. 233. GOLD NECKLACE 
WITH HEAD OF DIONYSOS IN RELIEF 


but how different in quality is now the filigree and granula- 
tion and in fact every detail of the work! 


ROMAN JEWELRY 


In the Roman period the tendencies noted in the late 
Greek jewelry become accentuated. The work grows flim- 
sier and coarser and depends more and more on the color 
and the sheen of the stones for its attraction. A number 


ROMAN JEWELRY 331 


of necklaces in Case L, western side, will pear this out. Cases L,C 
They consist of beads of emerald, garnet, agate, carnelian, 
gold, and colored glass strung on gold chains, the variety 
of soft colors combining in attractive fashion with the 
yellow gold (cf. fig. 234). But the charm lies in the 
colors and the combination of colors, not in the work- 
manship. To see how craftsmanship has deteriorated 
we need only compare the rosettes on some of the clasps 


FIG. 234. ROMAN NECKLACE 
EARLY IMPERIAL PERIOD 


and pendants with the much smaller but infinitely 
finer rosettes on Greek fourth-century necklaces. Clearly, 
- goldwork as a high art has disappeared. The rings and 
bracelets and pendants in the same case and the earrings in 
Case C (top shelf) will show the same contrast with former 
methods. One of the best pieces is a gold pinhead in the 
form of a winged Victory with cylindrical setting for the 
insertion of the pin (Case L, western side; fig. 235). 
The figure is carefully and delicately executed and has 
a good deal of the Greek spirit, though not the élan of 
her Greek sisters. Such large pins were used to keep 


Case D 


332 JEWELRY ROOM 


the elaborate coiffures of Roman ladies in place, as we 
know from representations in Roman statues. A gold 
ivy wreath (Case L, eastern side) is 


fourth century A.D. 
is illustrated in our 
FIG. 235. COLD collection by a 
PINHEAD. NIKE heavy necklace of 
eight-shaped links, 
a gold bracelet decorated with glass inlay 
in box settings, and several rings (Case 
L, western side). They are coarse work 
but undeniably effective, foreshadowing 
the later cloisonné work. 

In Case L (eastern, northern, and 
southern sides) are shown miscellaneous 
ornaments found at Kerch in the Crimea 
and in Babylonia. They are of various, 
chiefly late, periods. 


ETRUSCAN JEWELRY 
The best Etruscan jewelry approxi- 


the gift of J. Pierpont Morgan. An- 
other fine example of Roman work is 
a chalcedony statuette of Victory 
(Case D; fig. 236)) > Bie hese armas: 
and wings were made in separate 
pieces and are missing. The artist 
has managed his material so skilfully 
that when held against the light the 
figure itself is silhouetted while the 
flying drapery is translucent. 

Late Roman work of the second to 


FIG. 236. CHALCE- 
DONY STATUETTE 
NIKE 


mates the Greek in delicacy of workmanship, though the de- 
sign is seldom of the same high quality. The finest products 


Powis AN JEWELRY 333 


belong to the early periods, i.e., the seventh to fifth cen- 
tury B.c.; the later work is generally flimsy and less careful. 
A fibula, or safety-pin, of the seventh century (Case M, 
southern end; fig. 238) is decorated with animals in ex- 


FIG. 237. ETRUSCAN GOLD DISKS 


tremely fine granular work. It is one of the best pieces of 
Etruscan art in existence. A pair of gold disks (Case M, 
western side; fig. 237), used as buttons or earrings, are richly 


decorated with a design of a rosette surrounded by lions’ 


BiG. 238. ETRUSCAN GOLD FIBULA 


heads and two bands of smaller rosettes. Such disks occur 
in Etruscan tombs of the sixth and fifth centuries. In Case 
C is a series of Etruscan earrings ranging from the early 
box or “baule”’ type to the later ring or disk forms with 
pendants. The “baule” earrings are completely covered 
with leaves, rosettes and globules, beaded wires, and em- 
bossed figures, all executed with great care, but with no 
feeling for composition. We miss the Greek sense for sub- 
ordination of the part to the whole. A typical late piece 


Cases 
M,C,A 


334 JEWELRY ROOM 
(third century B.c.) consists of a large shield-like plate and 
many dangling pendants in the form of a woman’s head, 
vases, and balls, the whole over five inches long. Other 
Etruscan pieces are in Case A. 


THE CESNOLA COLLECTION 
The Cesnola Collection of gold and silver ornaments 


Cases F-K from Cyprus is exhibited in Cases F-K. It comprises 


Case E 


Case B 


pieces ranging from the Late Bronze Age to the 
Roman period, including some exceptionally fine examples 
of necklaces and earrings of the sixth to fourth century 
B.c. The whole collection is described in detail in J. L. 
Myres’s Handbook of the Cesnola Collection, pp. 373-426. 
The important engraved bowls of gold, silver, and bronze 
of the Cesnola Collection (described in the Cesnola Hand- 
book, pp. 457 ff.) are exhibited in Case E, and the undeco- 
rated vessels of the same collection are shown in Cases B 
and H. In Case B (top shelf) is a group of silver objects 
(two cups, a pail, a jug, aladle, and a bracelet) said to have 
been found together in a tomb and dating from about the 
third century B.c. A similar group (on the middle shelf) 
from Boscoreale belongs to the Roman period and illus- 
trates in a striking way the close dependence of Roman 
silverware on Hellenistic models. On the bottom shelf are 
a small cylindrical box of ivory with Erotes in relief—a 
dainty Roman piece—and a two-handled gold cup of the 
Mycenaean period. 


INDEX 


A 


ABACUS, 230, 321 

ACHAEANS, 40 

ACHILLES, on engraved gems, 209; 
on mirrors, 175; On vases, 92, 94; 
Achilles(?), on vases, 122 

ACHILLES PAINTER, 152-153, 162 

Actor, bronze statuette, 197 

ACTORS, comic, attributes identify- 
ing, 178; terracotta statuettes 
of: Asiatic, 201, from tomb in 
Greece, 178-180 

ADMETOS AND ALKESTIS, On mirror, 


175 

ADONIS, on vase, 185; Adonis (?), in 
amber, 83 

AGATE SCARABS, engraved, 132, 
164 


AGripPA (?), portrait head, 296 

AJAX, carrying dead Achilles, en- 

. graved gem, 209 

A jour RELIEF, on bronzes, 66, 149, 
176 

AKANTHOS LEAVES, on antefix, 203; 
on bronze mirror, 199; on marble 
akroterion, 262; in Roman 
decorative work, 228, 310 

AKRopoLis,  Calf-Bearer, 230; 
Maidens, statues in style of, 
239; Youth, 243 

AKROTERION, 238, 261, 262 

ALABASTER, in Minoan stonework, 
36 

ALABASTRON, 56, 58, 85, 99, 140 

ALEXANDER THE GREAT, on coin, 
188; conquests of, 189, 325 

ALEXANDRIA, Greek burial vases 
from, 205 

ALKAMENES, 107 


areal 


ALKESTIS, 175 

ALPHABET, 54, 65, 324 

AMAZONS, ON vases, 92, 94, 138, 140, 
141, 161 

AMBER, felief, 83; statuette, 83 

AMPHICHARES, 238 

AMPHORA, Apulian, 185; archaic 
Greek; 85,187, 00, 93,65 ;~Co- 
rinthian, 56; Etruscan, 65; fifth 
Century B.C, 1225 geometric, 
48-51; Nolan, 184; Panathenaic, 
92, 93; Proto-Attic, 58-60; 
Roman, 316, 318; silver, from 
tomb group, 176; South Italian, 
184, 185; stone, from Knossos, 
36; with warriors fighting, 62 

AMULETS, engraved gems as, 227 

AMYMONE, 152, 158 

““ANAKREON, type of portrait 
statue, 280 

ANcOoNA, amber relief from(?), 83 

ANDROMEDA, 318 

ANIMALS, as decoration: decline of 
use in pottery, 86, from Oriental 
art, 55, 58, 50, 64, 66; vases in 
form of, 138 

ANTEFIX, terracotta, 79, 82, 202, 
203 

ANTHEMION, 262, 264 

ANTIGENES, 238 

ANTIMACHOS, 228 

ANTIOCHEIA, bronze statuette, 197 

ANTIOCHOS, 154 

ANTONINE AND AURELIAN PERIODS, 
138-180 A. D., 108, 302, 303 

APHRODITE, on bronze mirrors, 
198; engraving of: on gem, 208, 
on gold ring, 329; marble, 160, 
202, 282, 283; persuading Helen, 
170, 175; statue of, in temple of 


338 


Jupiter in Imperial times, 283; 
terracotta statuettes, 169; in 
vase-painting, 130, 185; Aphro- 
dite(?), in amber, 83; on bronze 
mirror, 148, 174; on mirror- 
stand, 107; torso of, 266; see also 
Venus Genetrix 

APHRODITE OF KNIDOS, influence 
of, 266; statuette in type of, 172, 
215-216 

APOLLO, bronze statuettes, 75; 
on engraved gem, 208; on vases, 
124, 125, 128, 138; Apollo type, 
marble, 235, 236 

APOLLO SAUROKTONOS, 266 

APOLLODOROS, 125 

APULIA, vases from, 184-187, 204 

APULIAN VASES, characteristics 
and examples, 184-187 

ARA PACIS, 229 

ARCADIAN PEASANT, bronze statu- 
ette of, 76 

ArcuHaic Art, black-figured tech- 
nique, 85, 86; compared with art 
of fifth century B.c., 104; copied 
in Italic engraved stones, 200; 
figures familiar to, 72; style of, 
adopted in Roman art, 306, 307; 
traces of, in fifth century B.c., 
105; treatment: of eye, 234-235, 
of hair, 235 

ArcHAIC PERIOD, sixth century 
B.C., civilization and art, 68-99, 
232-242 

“ARCHAIC SMILE,” 235 

*ARCHAISTIC”” STYLE, Roman imi- 
tation of Greek archaic work: 
head in, 307, relief in, 306-307 

ARCHITECTURAL CoMposiTIONS, in 
Pompeian fresco-painting, 222, 

I 

Pepa ee oo ORNAMENTS, from 
Epidauros, 170; from Erech- 
theion, 147; relief, Late Minoan 
II, 36; in Roman times, 228-229 


AREOPAGUS, original statue of 
Eirene on the, 265 
ARES, 87 


AREZZO, ancient Arretium, 224; 
Arretine pottery from, 224 

ARGIVE HERA, 135, 136 

ARGIVE HERAION, 6 

ARGIVE SCULPTOR, 
see Polykleitos 

ARIADNE, on bronze mirror, 


Polykleitos, 
174; 


INDEX 


on gold diadem, 328; on marble 
sarcophagus, 312; in  vase- 
painting, 95 

‘““ARISTIPPOS,” portrait statue com- 
pared with, 280 

ARRETINE POTTERY, period, prove- 
nance, and technique, 224-226, 
316; end of manufacture, second 
century B.C., 317; stamps, 224- 
225 

ARRETIUM, 224 

ARTEMIS, 67, 128, 138, 321 

ARTISANS AT WoRK, on engraved 
gems, 209 

ARYBALLOS, 56, 58, 88, 233 

AstA Minor, Corinthian pottery 
found in, 57; Greek colonization 
in, 54; spread of Greek art in, 
190; vases found in, 317 

ASIATIC TERRACOTTAS, 200 

ASSYRIAN INFLUENCE, 55, 64, 66 

ATHENA, on bronze mirrors, 175; in 
marble, 255, 307, 311; in relief, 
67; on vases, OI, 92, 93, 95, 121, 
125, 153; winged, on engraved 
gem, 165 

ATHENIAN, gravestones, see Stele; 
potters, progress of, followed by 
vases in collection, 111-113; 
pottery, ascendancy and distri- 
bution in archaic period, 84; 
style in vases in Italy, 184-187; 
vase-painting: decline, 160, 184, 
emotion in, 91, 116, 120, 128, 
1209, foreshortening in, 126, 127, 
141, height of development cf, 
126, perspective in, 96, 152; 
vases: 58-60, 84-96, 111-141, 
152-163, compared with Graeco- 
Italian, 186-187, supremacy of, 
111, in tomb with chariot, 74; 
see also Black-Figured, Red- 
Figured, and White-Ground 
Techniques 

ATHENIANIZING POTTERY, 184-187 

ATHENS, coin of, 132; commercial 
and artistic growth, 84; develop- 
ment of, in fifth century B.c., 
103, 144; downfall of, 167; effect 
of Peloponnesian war on, 145- 
146; geometric vases from, 50; 
as leading Greek state, 100-103; 
as second-rate power, 146 

ATHLETE, bronze statuettes, 104- 
106, 150, 170; characteristics 


PNET EX 


identifying, 252; marble sculp- 
tures, 169, 252, 270-272; oil- 
flask of, represented on stele, 
259; reflecting Athenian life, 
70, 92; scenes of, on vases, 93, 
95, 114, 126; use of strigil by, 
150 

ATLAS AND HERAKLES, on bronze 
mirror-cover, 149 

““ATREUS,” “Treasury of,’’ 36, 41 

ATTRIBUTED VASES, 113-129, 152- 
158 

AUGUSTAN AND JULIO-CLAUDIAN 
PERIODS, 31 B.c.-68 A.D., por- 
traits from, 294-208 

Aucustus, head of, in ivory, 314; 
portrait heads identified as, 296 

AURA, 312 

AURELIAN PERIOD, seé Antonine 
and Aurelian Periods 

AXES, 38, 39 


B 


BABYLONIA, 332 

BARBARIAN, bust of, 197; head of, 
IOI, 192 

“BARBOTINE, ” slip decoration, 318 

BASALT, portraits in, 292-294, 208; 
statuette, 308 

BATTLE-SCENES, on chariot, 72; 
on sarcophagus, 82; on vases, 
87-88, 90, 94, 96, 122-123, 138, 
140, 202, 206 

“BAULE”’ EARRINGS, 333 

BEAbS, glass, 53, 84, 315; gold, 
326 

BEARD, wearing of, by Roman 
Emperors, 300-301 

BEAZLEY, attributions by, 113 

BELL-KRATER, see Krater 

BELLEROPHON, on bronze mirror, 
175 

BELVEDERE Torso, 
compared, 280 

BeENHA, bust found at, 274 

BERLIN AMPHORA, Painter of the, 
122 

Birps, in Roman decorative work, 
310; on vases, 204 

BLACK-FIGURED TECHNIQUE, 85- 
86, 116; combined with red- 
figured on white ground, 120; 
examples of, 85-96; kylikes in, 
fixing date of chariot, 74 


in Vatican, 


339 

BLack GLAze, on Athenian vases, 
85; on Graeco-Italian vases, 
184; Hellenistic, 204-205 

Biack Vases, of Apulian ware, 
186 

BLEGEN, discoveries of, 6 

BLossom BowLs, 25 

BLowINnG-TuBE, invented, 99, 208, 
315 

BOAR, 15, 164 

BoEoTIAN GOBLET, 61 

BoLocna Boreas, Painter of, 126 

BoLseNA, tomb group from, 176 

Bone, carvings, on Roman couch, 
196; used by Greek sculptors, 
201 

Boreas, carrying off Oreithyia, 
terracotta ornament to vase, 182 

BosANQUET, discoveries of, 5 

BOSCOREALE, frescoes from, 218- 
222; silverware from, 334 

BoscoTrECaSsE, frescoes from, 3 18- 
319 

BosTon PHIALE, Painter of the, 152 

Boston TiTHoNos, Painter of the, 
123 

Bowboln Box, Painter of the, 124 

Box, silver, from tomb group, 334 

BoxER, 267-268, 272 

“BOXER VASE,” 22; reliefs com- 
pared, 23 

Boxinc Marcu, on vase, 22, 93 

Boy, bronze statues and statu- 
ettes, 296-208, 313; head of, 
basalt, 298; marble statues of, 
266; in relief, 83; on stele, 160; 
terracotta figures, 201; on vase, 
90, 114, 120; wall-painting, 20 

BRACELET, 195-196, 320, 331 

Braziers, Etruscan, 65 

BRIDE, see Marriage Scenes 

Bronze, Age: in Crete, 6, type of 
fibulae in, 52; hydria, 135-136; 
methods of working, 99; patina 
covering, 108, 136; rarity of 
statues of, 242; statuette of 
horse, 134-135; torso of, 242- 
243; treatment of, 76; utensils, 
78, 108, 142, 150, 200 

BRONZES, archaic, 70-79; chrono- ~ 
logical arrangement, xiv; Cretan, 
14-15, 38; fifth century B.c., 
104-108, 134-136, 141-142, 146—- 
151;.fourth century B.c., 170- 
176; geometric, 51-53; Hellen- 


340 


istic, 192-200, 215-216; Oriental- 
izing, 66-67; Roman, 216, 296- 
208, 302, 307-308, 300, 310, 313- 
314; from Sardis, 322 

BRUSSELS OINOCHOAI, Painter of 


the; 127 
BRYGOS, 120-121 
‘“BUCCHERO”” WARE, character- 


istics and technique, 64-66 
BULL, on gem, 26, 164; on wall- 
painting, 42; head of: as cup, 
rhyton, 34, in sculpture, 34; 
-hunt, ivory figures from, 20-21, 
reliefs of, compared, 23, in vase- 
relief, 22-23; statuette of, with 
_ Jumper, 34 
Busiris, in vase-painting, 118, 126 
Buttons, of niello, on tunic of 
bronze statuette, 196 


C 


Caius Visius TREBONIANUS GAL- 
Lus, bronze statue of, 304 

CALENIAN POTTERY, 204 

CALIGULA, marble bust of, 295-296 

CAMEO, introduction of, and origi- 
nal use of, 208-209 

CAMEO GLass, variety of Roman 
glass, 315 

“CAMILLUS,” character of, 
bronze statue of, 307 

CAMPANIA, characteristics and ex- 
amples of vases from, 184-187, 
205 

CANDELABRUM, bronze, 150, 200; 
and painting representing, re- 
ferred to, 150-151 

CANNAE, type of helmets found at, 
200 

“Canopic”’ JAR, Etruscan ware, 
64 

CANOSA, vases 
found at, 206 

CAPITAL, fom soardis; 421-422; 
used as finial, 239 

CARICATURES, Roman, 313 

CARNELIAN, engraved, 16, 97, 131, 
132, 164, 325 

CART, 159 

CARTHAGE, 189-190 

CASKET, 3°7,.41; 201 

Cat HuntTING PHEASANT, fresco 
painting, 19 


and 


and_ statuettes 


INDEX 


CAULDRON-STANDS, _ red-polished 
Etruscan ware, 64 

CENTAUR, bronze statuettes, 51, 
75; on engraved gem, 165; on 
vases, 140 

CERVETRI, terracottas from Etrus- 
can temple at, 82 

CESNOLA COLLECTION, from Cy- 
prus, 324, 334 

CHAIREDEMOS, 238 

CHALCEDONY, engraved, 16, 131, 
164, 165, 325; statuette of Vic- 
tory, Roman period, 332 

CHALCIDIAN ALPHABET, on toy 
jug, 65 

CHARIOT, On coin, 132; statuette of, 
308; in terracotta, 80, 82; on 
vases, 48, 50, 87, 89, 92-96; see 
also Etruscan Bronze Chariot 

CHARON’S Boat, on vases, 163 

CHICAGO STAMNOS, Painter of the, 
128 

“CHIEFTAIN Cup,” 22 

CHILD, head of, 215; on vase, 163 

CHILDREN, in Greek sculpture, 
178, 259; in Roman sculpture, 
313; OM vases, 159, 314; vases 
found in graves of, 159 

CHIMAERA, 175 


- CHRYSIPPOS, 211-212 


Curysis Hypria, Painter of the, 
158 

Cippus, sepulchral monument, 302 

CIRCE, 175 

Circus, Minoan wall-painting of, 
29-30 

Cista, bronze, from tomb group, 
176; Etruscan, handles from, 
197-198 

City-STATES, 47, 68, 102 

CivirA CASTELLANA, vases from, 
108 

CLAY TABLETS, Cretan, 26 

Cock, with boy, terracotta, 2013. 
vase in form of, 65, 207; on vases, 


93 

COINAGE, introduction of, 54, 97 

Corns oF, Aigina, 98; Ainos, 166, 
187, 188; Akragas, 132; Amphi- 
polis, 166; Aspendos, 188; Athens, 
132; Corinth, 132;4heype sco, 
210; Elis, 166; Gela, 1325 Heéra- 
kleia, 188; Kelenderis, 188; 
Leontinoi, 166; Lydia, 98, 322; 
Messana, 132; Metapontum, 


EN DEX 


132; Methymna, 132; Naxos, 
165; Pergamon, 210; Poseidonia, 
98, 313; Prusa, 267; Rhodes, 
188; Segesta, 132; Selinus, 165; 
Syracuse, 132, 165; Taras, 08, 
187; Terina, 187; Thebes, 166; 
Zankle, 98 

COLANDER, bronze, 200 

CoLMAR PAINTER, 123 

CoLor, on Greek and Roman 
sculpture, 79, 231, 234, 236-238, 
278; on stelai, 192; on terracotta: 
reliefs, 202, statuettes, 180; on 
vases, 56, 86, 129, 130, 161, 204, 
207 

CoLuMn, characteristics of Minoan, 
36; from Sardis, 321-322 

CoLUMN-KRATER, see Krater 

CoMBAT SCENES, On vases, seé 
Battle-Scenes, and Herakles 

Comic Actors, terracotta figures, 
178-180, 201 

CONSTANTINE 
A.D., 305-306 

“CONVERSATION 
vases, 118, 120 

Copper, inlay on bronze statue, 
307 

CoRINTH, ceramic center in early 
Greek period, 56 

CorRINTHIAN, helmet, 67; pottery, 
technique and examples, 55-57 

CoRNELIUS, potter’s inscription on 
Arretine ware, 226 

CosTuME, 178, 239-242; see also 
Crete, costumes, and Drapery | 

Coucu, in Roman times, copied 
from Greeks, 320; type of orna- 
ment used to decorate, 200 

Cow, 15 

CRAB, ON vase-painting, 205 

CRANE, On gem, 164; on vase- 
painting, 88 

CRETE, architecture, 36-38; art, 
characteristics and Egyptian 
influence, 9, 44; ascendancy of, 
18; in Bronze Age, 6; civilization 
of, classification and periods, 6, 
7, 8; costumes of, 13, 14, 20, 28, 
29, 42; deity of, 13; excavations 
in, 3-6; fall of, 39-40; influence 
on Greece, 18, 27; pottery of, 
8, 9, 12, 14, 24, 25, 38, 42, 43; 
prehistoric civilization of, 4, 6; 


PERIOD, 305-337 


SCENES,” on 


341 


een of writing, 10, 15-17, 25, 

2 

CriMEA, Corinthian pottery found 
in, 57; see also Kerch 

CRIMEAN VASES, made by Athenian 
potters, 160 

CROCUSES, on votive robes, 14; 
in wall-painting, 20 

CROESUS, 98, 322 

CRUET-STAND, from Campania, 
205 

CuBICULUM, 222 

CuIRASS, 16, 52, 200 

CUPBEARER, fresco, 28 

Cur Quass.3 15 

Cyc.apic IsLAnps, 18 

CyYCLOPEAN WALLS, 41 

Cyprus, bronze statuettes from, 
74, 146; Cesnola Collectior 
from}: 55,324, 334; engraved 
gems from, 131; pottery fron, 
43, 62; water-spout from, 140 

CYRENAIC VASES, 60 


D 


DAGGER-BLADE, 14-15, 23 

Daly LIFE, 229 

DANAE PAINTER, 129 

Dance, Minoan, in wall-painting, 
30 

DECADRACHMS, 165 

DECORATIVE ART MoriIves, in 
Arretine pottery, 224; Corinthi- 
an, 55-50; geometric, 50; Greek, 
86; on Hadra vases, 206; on 
metallic-glaze vases, 316; Mino- 
an, 24; in Pompeian fresco 


paintings, 220-222; Rhodian, 
61-62; Roman, 228-220, 286, 
310 


DEEPDENE AMPHORA, Painter of 
the, 126 

DEIANEIRA, 58 

DELIAN CONFEDERACY, 103, 144 

DELPHic [RIPOD, in vase-painting, 
124 

DEMETER, I10 

DEMETRIOS POLIORKETES(?), 221 

Demon, on gold ring, 27 

D1ApDeEM, gold, 328, 330 

DIADOUMENOS, 170-171 

DipYMA, seated _ statues 
compared, 251 


from, 


342 


DIKTAEAN Cave, libation table 
from, 17; objects from, 38-39 
DIMINUTIVE VASES, examples of, 

65, 95, 158-159; use of, 159 
DINNER SERVICE, 205 
DIOCLETIAN, 301 
DIONYSIAC PROCESSIONS, 158, 159 
Dionysos, on bronze mirror, 174; 

on fresco, 222; on jewelry, 328; 

marble sculptures characterized 

aS, 215, 255; on vases, 89, 91, 

05, 122, 125, 128, 129, 158, 160 
DioskKOUROI, on bronze mirrors, 

108 
DireyLon VASES, 48-50 
Disk-T HROWER, bronze statuette, 

104-105 
Disks, in architectural reliefs, 36; 

of bronze, 199; of terracotta, 

perforated, 202 
Docs, on bronze mirror, 142; on 

engraved gems, 131, 164; on 

sarcophagus, 312; on stele, 169; 

vase in form of, 207; on vases, 50, 

122)" 124 
DoIpDALsas, statue by, 283 
DOLPHINS, on coin, 165, 187; on 

frieze, 202; ON vase, 12, 225 
DONKEY, on vase, 158 
DourIs, 120 
DRAPERY, of Parthenon pediment 

sculptures, 251; sculptural ren- 

dering: in archaic period, 250, 

fifth century, 251, fourth cen- 
tury, 265, Hellenistic period, 

280; in Tanagra statuettes, 183 
DRILL-HOLES, 303 
DRINKING-Cup, see Kylix 
Duck, vase in form of, 138, 207 
DutuirT PAINTER, 125 
DwakF, 313 


1s 


EAGLE, 166 

ECHETLOS(?), 202, 203 

EGNATIAN VASES, 204 

EGNAZIA, vases from, 204 

Ecypt, art motives from, com- 
pared, 33; Corinthian pottery 
found in, 57; glass vases from, 
09; influence: on Cretan art, 44, 
on Etruscan art, 64, on Roman 
frescoes, 310; kingdom of, 180; 
spread of Greek art in, 190; use 
of bronze mirrors in, 141 


EN DEX. 


EGYPTIAN CHRONOLOGY, basis for 
dating Cretan epochs, 8 

EIRENE, goddess of peace, statue 
of, 264 

ELEUSINIAN RELIEF, 248 

E.is, bronze disks found at, 200 

ENAMEL IN JEWELRY, 328 

ENDYMION, 312 

ENGRAVED Gems, art of: decline, 
226-227, from the: Orient oa, 
examples of, 16, 96-97, 131-132, 
164-165, 187, 208-210, 226-228 

ENGRAVED STONES, see Engraved 
Gems 

Eos; 126,427,453 

EPAMINONDAS, 167 

EpAuLIA, Athenian wedding cus- 
tom, 156-157 

EPELEIOS PAINTER, 114 

Epicurus, period of philosophy of, 
194; portrait head of, 281-282 

EpipAuRosS, marble decoration 
from the Tholos, 170 

EPIKTETOS, I14 

EpitIMos, vase signed by, 96 

ERASINOS, 169 

ERECHTHEION, architectural orna- 
ments from, 147; compared, 321 

Eros, bronze: ‘reliefs, 173; £75,108, 
217, 312, statues and statuettes, 
142, 178, 201,¢ 21G S27 esa 
on engraved gems, 131, 210, 226; 
in ivory, 334; on jewelry, 329; in 
marble sculpture, 229, 266; in 
stucco, 319; on vases, 156, 157, 
160, 186, 206, 316 

ERYMANTHIAN Boar, marble relief, 
306; on vase, 91 

ETRURIA, engraved gems from, 96 

ETRUSCAN, antefixes, 82; art: 
characteristics of, 72, dependent 
on Greece, 72; 132, 175, 1talic 
engraved gems copied in, 209; 
bronze: candelabrum, 200, 
chariot, 70-74, handles from 
cistae, 197-198, statuette, 78, 
107; engraved gems, 132, 187; 
fibula, 333; frieze, terracotta, 
202; jewelry, 332-334; mirrors 
and toilet articles, 176; pottery, 
63-66, 202-203; tomb group, 
176; toy jug in form of cock, 
65-66 

ETRUSCANS, conquered by Rome, 
189; origin of, 63, 324 


INDEX 


EUAINETOS, 165 

EuAION PAINTER, 129 

EUCHARIDES PAINTER, 126 

EUERGIDES PAINTER, 114 

EUKRATIDES, 228 

EUPHRONIOS, vases signed by, 118 

EuRIPIDES, 168 

EUROPA ON BULL, 142 

Europ, 108-109 

EURYKLEIA, 109 

EURYSTHEUS, ON vase, QI 

EUTYCHIDES, 197 

EVANS, excavations by, 5, 10, 13, 
20 

Eyes, in bronze statuette, of 
silver, 196; as decoration on 
vases, 116; treatment of: archaic, 
87, 234, 235, fifth-century, 114, 
fourth-century, 268, in Roman 
portrait, 296, 303, by Skopas, 
272-273 


EF 


Faience, Minoan: Egyptian im- 
pulse in, 44, from Knossos, 13, 14 

FARNESE HERAKLES, 282 

Faustina, hair of, 303 

FAUSTULUS, 210 

FEMALE FIGURES, conventional- 
ized, as decoration on vases, 
206; draped, 100, 239-242, 265; 
first prominent in fourth-century 
sculpture, 266; in relief, 170; 
as stand of bronze mirror, 141; 
statues of, 239-242; statuettes of, 
75, 80, 100; in style of “ Akropo- 
lis Maidens,” 239; from Taren- 
tum, 202; as terracotta ornament 
on vase, 182 

FEMALE HEAD, on bronze mirror 
cover, 148; in color, in vase- 
painting, 204, 205; marble sculp- 
tures of, 260, 283 

FIBULAE, as chronological data, 53; 
examples, 52, 3209, 333; period 
and use, 52 

FILIGREE, goldwork, 328-329 

“FILLER,” Minoan, 25 

FIGLET, 252 

FINGER-RING, gold, 23, 27, 170, 
329, 331, 332 
ISH, on gem, 26; flying, on wall- 
painting, 20 

FISHERMAN, 279 


343 
FLAVIAN PERIOD, 69-06 A.D., 
299-300 
FLORAL DEsIGNS, on _ bronze 
dagger-blade, 23; on Hadra 


vases, 206; on mirror cover, 140; 
in Roman decorative work, 228, 
310 

FLower-Port, from Phylakopi, 25 

FLOWERING PLANT, in wall- 
painting, 19 

FLoweErs, gold rosettes in the form 
of, 328 

Fococart, Etruscan braziers, 65 

FORGERIES, of Tanagra statuett:s, 
182-183 

FORTUNA, on engraved gems, 227 

FORUM OF TRAJAN, 229 

Fox, on mirror stand, 142 

FRESCOES, painting of, technique, 
ancient and modern, 219-220; 
from Pompeii, 218-222, 318- 
319 

FROG, on vase, 205 

FUNERARY LEKYTHOI, 
264 

FUNERARY SCENES ON VASES, 186 


161-163, 


G 


GALATEA, 318 

GALENE, 208 

GALLIENIC PERIOD, 253-268 A.D., 
portraits from, 305 

GAMES, 54, 70, 92, 136, 150 

GAMING BOARD, 37 

GANYMEDE, on vase, 123 

GARDEN, in fresco painting, 222 

GARLAND, in fresco painting, 222 

GATE oF MyceENAE, lion relief 
from (cast), 35 

GAUL, conquered by Rome, 189; 
as provenance of pottery, 317 

GAUL, fighting, statue of, 276 

Gems, see Stones, Precious; en- 
graved, see Engraved Gems 

GENERAL, Roman portrait heads 
of, 301-302, 305 

GEOMETRIC PERIOD, date, charac- 
teristics, and products, 46-53 

GERAS PAINTER, 125 

GILDING, on steatite vases, 22 

Girt WREATH, on Apulian vases, 
186 

GIRGENTI KALyx KRaTER, Painter 
of the, 126 


344 


GIRL, bronze statuettes of, 76, 78, 
313; on engraved gem, 97, 131; 
holding puppy, 313; marble 
head, 191, 268; in relief, 233; on 
ring, 327, 329; in swing, 34, 186; 
on vases, 120, 156, 186 

GIUSTINIANI COLLECTION, 265, 306 

Giass, beads: “eyed”’ variety, 84, 
types and decoration, 53; blow- 
ing, invention, and effect on 
manufacture, 99, 208, 315; in- 
lay, on Roman couch, 320; 
iridescence of, and cause, 315- 
316; paste, substitute for gems, 
208; vases: examples of, 99, 207- 
208, 315-316, techniques, 99, 
208, 315-316 

GLAzeE, blue-green, 316; green, 
316; reddish, 224; see also Black 
Glaze 

GLAZED, figures, 13; plaques, 38; 
vases: examples, 316, home of, 
317 

GLYPTOTHEK, Munich, replica of 
Eirene statue at, 264 

Goat, bronze, 76; on coin, 166, 187; 
faience relief, 14; heads, on 
terracotta antefix, 203 ;in marbl>, 
300, 312; statuette of, 80; use of, 
as sacrificial offering, 309; on 
vases, 129 

Goppess, head of, marble, fourth 
century B.c., 268; mother, chief 
divinity of Crete, 14; of peace, 
see Eirene; on relief, 248; snake, 
faience, from Knossos, 13 

GOLD, cups, 23, 334; jewelry, 9, 
23, 27, 326-334 

GORGONEION, ON vase, 205 Z 

GournlA, excavations in, 5, 8, 12; 
prosperity of, 19; vases from, 
24-25 

““GRACEFUL STYLE,” in vase-paint- 
ing, development of, 155; ex- 
amples, 155-158 

GRAECO-ITALIAN VASES, compared 
with Athenian, 186-187 

GRANULATION, in goldwork, 333 

GRAPE DECORATION, 206 

GRAVESTONE, see Stele 

GREAVES, bronze, 79 

GREECE, conquered: by Mace- 
donia, 189, by Rome, 190; con- 
queror of Crete, 46; domination 
by Crete, 18; effect» of, city- 


EN DEX 


states on, 47; ruled: by Athens, 
145, by Sparta, 146; victorious 
over Persia, 102 

GREEK, art: characteristics, 69-70, 
72, 92-93, 103-104, 256, 275, 325, 
division into schools, 145, effect 
of victory over Persia on, 102- 
103, emotion in, 91, 116, 120, 128, 
120, 163, 258-250, fifth and 
fourth centuries compared, 168- 
169, idealization in, 252-254, 
love of beauty combined with 
practicality, 78, 108, and Min- 
oan, compared, 44-46, moder- 


ation in, 244, 254, Oriental 
influence on, 53, progress of, 
250-251; costumes differing 


from Cretan ones, 42; graves, 
views of, 99; life, figured on 
pottery, 86; warrior, attacking 
Persian soldier, 138 

GREEKS, burial vases of, fron 
Alexandria, 205; and Amazons, 
on vases, 122, 140, 161 

GRIEF, see Greek Art, emotion in 

GRIFFIN, 30, 66, 319, 326 

GROTESQUE FIGURES, bronze 
statuettes, 196-197, 313; on 
metallic-glaz> vases, 316 

“GRYLLOI,” on engraved gems, 
210 


H 


HapeEs, 88, 110-111, 131, 185 

Hapra, stelai from, 192; 
from, 205-206 

HApDRIANIC PERIOD, 117-138 A.D., 
300-302 

HaciA TRIADA, discoveries at, 5; 
pottery from, 25; prosperity of, 
19; sarcophagus from, 30-32; 
statuettes, bronze, from, 34; 
wall-paintings from, 19 

Hair, treatment of, in Greek and 
Roman sculpture, 235, 236, 255, 
201, 270-272, 274-275, 292, 296, 
300-305, in vase-painting, 155; 
worn long in Minoan time, 28 

HALBHERR, discoveries of, 5 

HANDLES, 107, 108, 147, 197-198, 
314 

HANNIBAL, defeat of, 189-190 

HARE, on fresco, 19 

HARMODIOS, 243, 252 


vases 


INDEX 


HARMONIA, 154 

HARPOKRATES, 313 

HARROw OINOCHOE, Painter of the, 
124 

““HARVESTER VASE,” 21-22 

Hawes, discoveries of, 5 

Heaps, vases in the form of, 94, 
121, 138-140 

HEGESIBOULOS, potter, 124 

HEGESO, gravestone of, compari- 
son with, 251 

HextTor, dragged by Achilles, 94 

HELEN, 170, 175 

HELLENISTIC, art, characteristics 
of, 190-217, 275-283; period: 
189-217, 275-283, introduction 
of cameo in, 208-209, statues 
erected in honor of prominent 
men in, 280; potters, use of 
plastic decoration by, 206; 
representation of children, 259; 
sculpture, 191-202, 2'75-283 

HELMET, 67, 132, 200 

HEPHAISTOS, ON vases, 158, 184 

HERA, 311 

HERAKLEIA, 200 

HERAKLES, on coin, 188; comic 
terracotta statuette of, 179; on 
engraved gems, 97, I31, 165, 
208; on mirror, 149, 199; statues 
and statuettes, 77, 194, 197, 2790- 
280, 306; torso of, compared with 
Belvedere torso, 280; on vases, 
118; exploits of: attack on 
Busiris, 118, 126, carrying off 
Delphic tripod, 124, carrying 
Erymanthian boar, 91, 306, 
clubbing old age, 125, combat- 
ing sons of Eurytos, 118, in 
contest with Nessos, 56, 58, 
fighting Lernaean hydra, 205, 
in lower world, 92, 138, with 
Polos, 92, strangling the ser- 
pents, 125, throttling the Ne- 
mean lion, 57, 92, 114, throwing 
rock on Kyknos, 95 

HERCULANEUM, 104 

HERCULES AND JUNO, on mirror, 
199 

HERMARCHOS(?), 
ette, 192-194 

HERMES, on coin, 166; and Diony- 
sos, on fresco, 222; on engraved 
gems, 97; as god of commerce, 
314; of Praxiteles, comparison 


bronze statu- 


345 


with, 170, 270-272; on relief, 
169; on vase, 95, 163 

HERMS, 107, 254-255 

HERODOTOS, 274 

HIERON, potter’s 
vases, 118-120 

H1iPPOCAMP, 92 

HIPPOLYTE, on vase, 92 

HOGARTH, discoveries of, 5 

HORNS OF CONSECRATION, 31-32 

Horror Vacui, 56 

Horse, on engraved gem, 164; on 
limestone base, 242; marble 
relief of, 274-275; statuette, 
76, 134-135;-race, on vases, 93 

Horse-IRApPINGS, bronze, 199- 
200 

HorseMAN, bronze, 77; 
relief, 
206 

Hounps, attacking boar, on fresco, 
42; on coin, 132; rampant, 312 

Houses, interiors of, 38, 124, 218- 
222, 318-320; miniature facades 
of, 38 

HuMAN For, representation of, 
in Greek art, 43, 48, 69-70, 72- 
77, 87, 104-105, 114, 116, 147, 
171; vases modeled m, 318 

HUNTING-SCENE, 42, 206 

Hypria (water-jar), 85, 91, 92, 95, 
122, 125, 126, 128, 138, 156-158, 
185, 205; of bronze, 135-136 

HyGEIA(?’), 268 


signature on 


marble 
170, 274-275, On vases, 


IBEX, on gem, 26 

INCENSE BuRNER, bronze plate of, 
from tomb group, 176; on relief, 
248 

INLAY WorK, 196, 307, 310 

INSCRIPTIONS, on Arretine ware, 
225; on cippus, 310-311; on 
coins, 228; on engraved stones, 
164, 209; on Etruscan: jug, 
65-66, mirrors, 175, urns, 203; 
Lydian, 322-324; on mirrors 
from Praeneste, 199; on Pana- 
thenaic amphorae, 93; about 
public buildings, 170; on Roman 
vases, 225; Signature of artist, 96, 
T18, 120, 124)°155, 165, 225, 281; 
on statuettes, 76; on stelai, 234, 
238,258; 9259, | 201; 204>" en 


346 


tablet, 313; on toilet articles, 
176; on vases, 89, 90, 93, 96, 116, 
LIS, - 124, 1128). 135-130) aac, 
157, 160, 225 

INTAGLI, stamps, on Arretine 
pottery moulds, 224; see also 
Engraved Gems 

IOLAOS, 205 

IoNIA, art of engraved gems in, 96 

IONIAN PoTTERY, 62; drinking-cup, 


Ol 
IoNIc CAPITAL, 321-322 
IRIS, 24 


IRON AGE, articles of, in tomb 
group, 176; end of Cretan civil- 
ization in, 6; type of fibulae 
used in, 52 

ITALIC, engraved gems, 208-209, 
inscriptions on, 200; fibulae, 52; 
helmets, 200; mirrors, 198-199; 
pottery, 184-187, 206 

ITALO-CORINTHIAN POTTERY, 57 

ITALY, as ceramic center, 184-187, 
206; Corinthian pottery found 
in, 57; metallic-glazed pottery 
from, 317 

Ivory, box, 334; figures from 
Knossos, 20-21; head of Augus- 
tus, 314 

Ivy, as decorative motive, 19, 222, 
228 


J 


JEWELRY, ancient and modern, 
compared, 325; see also Gold 
Jewelry 

JuG, 13, 65, 76, 250, 316; on vase, 
identifying Amymone, 152 

JULI0-CLAUDIAN FAMILY, 208 

JULIO-CLAUDIAN PERIOD, seé 
Augustan and  Julio-Claudian 
Periods 

Juno AND HERCULES, on mirror, 


199 
K 


KADMOS, palace of, 33; on vase, 
154 

KAKOVATOS, pottery from, 38 

KALLIDEMOS, son of Kalliades, 264 

KALLIRRHOE, 88 

Kadés NAMES, 90 


INDEX 


KAPANEUS, 132 

KEpHIsoporTos, sculptor of original 
statue of Eirene, 265 

KERBEROS, On vase, 92 

KERCH, 160, 186, 332 

KIMON, 165 

KITHARIST, 123 

KLAZOMENIAN SARCOPHAGUS, 82- 
83 

““KLEINMEISTER,” type of pottery, 
drinking-cup, 89 

KLEOPHRADES PAINTER, 124 

KLYTEMNESTRA, 43 

KNIDIAN APHRODITE, 172, 215, 216 

Knossos, excavations on the site 
of, 5, Tl, 12)-13, 2052930 ua2. 
36-39 

KoMAST, 121 

KORAKOU, excavations at, 6 

KotraBos, Athenian game, 150 

KOTYLE, 156 

KRATER, 56, 87, 122, 124, 126, 128, 
129, 138, 140, 153, 154, 212-215; 
bell-krater, 124, 128-129, 153, 
184; column-krater, 87, 122, 125 

KrEsILAS, Cretan sculptor, pos- 
sible sculptor of athlete statue, 
254 : | 

KYBELE, image of, in processional 
car, drawn by lions, 307-308 

KYLIX,., 80, 03,002, 200) aul oe 
11%, 120,.. 12350023, eee 
covered, see Lekane 


L 


LABYRINTH, derivation of word, 5; 
finding of, at Knossos, 5 


“TLACONIAN,” grave, gold cups 
from, 23; vase, 60 
Lamp, 37, 79 


““LAMP-FEEDERS, 204 

LapirHs, and Centaurs, on vase, 
140-I4I 

LAR, 310-313 

Lasa, 176, 198 

LASITHI PLAIN, 14 

LAUREL, sprays of, 206 

LaurRIon, female draped statue 
from, 240 

LEAD, 238; votive offerings of, 67 

Lespes Gamikos, see Marriage 
Vases 

LEKANE, 156, 186 

LekyTHos (oil-jug), 91, 92, 94, 95, 


INDEX 


125, 120, 130, 152, 153, 156, 161, 
162, 186, 264 

LERNAEAN Hypra, on vase, 205 

LETo, 128 

Leuctra, battle of, 167 

LIBATION, bowls, 172; scene, on 
vase, 153, 154; table, steatite, 
from Diktaean Cave, 17; vase, 
see Rhyton 

Lixies, wall-painting, 20 

Lity VASE, 12 

LIMESTONE, base with horses, 242; 
in Minoan sculpture, 33; sphinx, 
79; used by Greek sculptor, 230 

LINE-DRAWING, in vase-painting, 
112, 155-156 

Lion, in bronze Kybele group, 
308; on engraved gems, 164-165; 
head, 314; on jewelry, 326, 3209, 
333; -hunt, on bronze dagger- 
blades, 23; marble statue of, 
255-256; Nemean, see Herakles; 
on Proto-Attic vase, 59; relief 
from gate of Mycenae, 35, 41; 
statue of, compared, 256 

Lioness, head cf, sculpture, 35 

LIZARD, 229 

“LocRIAN’’ RELIEF, 
example of, 110-111 

Lotos, 37, 55, 61, 66, 86, 239 

LouTROPHOROS, use of, in antiq- 
uity, 88 

LUCANIAN VASES, characteristics 
and examples, 184-187 

Lucius VERUuS, portrait head of, 
303 

Lyp1a, coins from, 54, 98; Etrus- 
cans from(?), 63, 324; see also 

_ Sardis 

LYDIAN LANGUAGE, 322-324 

LYKAON PAINTER, 154 

Lysippos, characteristics of style, 
171; influence of, shown in 
bronze statuette, 171 

LysISTRATE, 261 


M 


terracotta, 


MACEDONIAN SHIELD, 221 

MACEDONIANS, 168, 189 

MAENADS, on cameo, 315; on 
mirror, 175; on terracotta re- 
lief, 319; on vases, 80, 120, 127, 
128, 316 

MAKRON, 120 


347 

Maratuon, battle of, 102, 203 

MarBLE, in Greek sculpture, 230- 
231; see also Sculpture 

MarInE ScENE, Cretan, 24; on 
Etruscan frieze, 202 

MARKET WoMaAn, 276-278 

Marvay PAINTER, 154 

MarRIAGE, scenes, 87, 95, 157; 
vases, 88, 156, 159, 160 

MarsyASs(?), 174 

Masks, beads in form of, 84; as 
decoration, 64, 84, 116, 314; on 
gems, 210; from Mycenae shaft- 
graves, 23; on statuette, 197 

MEANDER, 50, 314 

Meat-Hook, bronze, 200 

Mepbusa, head of, 206, 313; and 
Perseus, in vase-painting, 129 

MEGAKLES, Stele of, 232-234 

“ MEGARIAN Bow s,”’ Italian imi- 
tation of, 207 

Me rp1As PAINTER, 155 

MELEAGER, 312 

MELETOS PAINTER, 153 

MELos, pottery from, 13, 25; wall- 
paintings from, 20 

MEMNON, 175 

“MENANDER,’ portrait statue com- 
pared with, 280 

MEsoporamIia, influence on Etrus- 
can art, 64 

MESSAPIAN VASES, I61 

METALLIC-GLAZE_ VASES, _ tech- 
nique and examples, 316-318 

METALWORK, Cretan, 12, 22-24 

METHYSE PAINTER, 128 

MILLEFIORI GLASS, 315 

MINIATURE VASES, 95, 158-160 

MINOAN, art: an appreciation of, 
44-45, characteristics of, 44, 
decline of, 40; circus repre- 
sented, 29-30; columns, charac- 
teristics of, 36; costumes, 14, 20, 
28, 29, 42; derivation of word, 
7; engraved stones, 11, 16, 26- 
27, 44; fresco painting, 19-20, 
28-30, 32-34,41—-42; gold jewelry, 
9, 23; goldsmith’s work, 22-23; 
life represented in wall-paintings, 
28; man, appearance and cos- 
tume, 28; ritual, 27, 32; sculp- 
ture, 10, 20-22, 33-35; stone- 
work, 9, 25-26, 35-37; see also 
Crete 

Minos, 4, 18, 40; throne of, 35-36 


348 


MINOTAUR, 4, 92, 123 

MIRROR-STANDS, 74, 107, 141-142 

Mirrors, bronze, 43, 141-142, 
148-150, 172-175, 198-190, 217 

MocuLos, discoveries at, 5, 8, 9, 
12 

MonkKeEYs, on fresco, 20 

MONOCHROME POTTERY, 12-13 

Monsters, from Oriental art, 55, 
66; winged, 310 

MOoNTELEONE, Etruscan bronze 
chariot from, 70-74 

Mosaic Giass, see Millefiori Glass 

MOTHER AND DAUGHTER, portrait 
heads, 298 

MoTHER-GODDESS, 14 

MOULDED VASES, 94, 121, 138-140, 
207, 222-225 

MouLps, Arretine pottery made 
from, 224; glass blown into, 
315; terracotta, 151,202 

Mu tes’ HEADs, 200, 314 

Murat RELIEFS, in Roman times, 
319-320 as 

Muses, in contest with sirens, on 
sarcophagus, 311-312 

Music, 67, 90, 120, 129, 138, 154, 
156, 195, 212-213, 220 

MycenaE, architectural reliefs 
from, 35-36; discovery of, 4; 
frescoes from, 32; pottery from, 
43; shaft-graves of, 4, 23; 
warrior vase from, 43 

Myrina, Asia Minor, terracotta 
figures found at, 200 

Myron, bronze statuette showing 
influence of, 106 


N, 


NarkIssos(?), 245 

NAUKRATIS, 62 

NAUSIKAA PAINTER, 125 

NavTILus SHELL, 24 

Naxos, marble from, for Greek 
sculpture, 231 

NECKLACE, 328, 331, 332 

NEGRO, statuette of, 197, 217; vase 
in form of head of, 94 

NEMEAN Lyon, see Herakles 

NEMESIS, on engraved gems, 227 

Neo-Attic, krater, 212-215; re- 
liefs, compared, 320 

NEOLITHIC WARE, pottery in imi- 
tation of, 9 


| ict VEL), 


NeopTo_emos, killing Priam, on 
vase, 114-115; name of warrior, 
154 

NEREID, 206, 208, 209, 225; monu- 
ment, lions from, compared, 256 

NEREUS, 92 

NicePHoR, workman on Arretine 
pottery, 226 

NIELLO, 196, 310 

Nike, tying sandal, 240; on vase, 
153, 186; see also Victory 

NIKOSTHENES, Greek potter, 89 

NIKOXENOS PAINTER, 116 

Niosip(?), 243 

“NOLAN” AMPHORA, 153; Italian 
vase reminiscent of, 184 

Nurse witH Bay, comic terra- 
cotta statuette, 179 

NyMPHs, 169, 215 


O 


OcTODRACHM, 210 
OcTopus, 24, 37 


OpyssEUS, On mirror, 175; on 
terracotta relief, 109-110; on 
vase, 56 


“OECUS CORINTHIUS,” 229 

OFFERINGS TO THE DEAD, vases as, 
1601 

OINOCHOE (wine-jug), 59, 90, 124, 
138, 155, 158, 159, 160 

OxBiA, southern Russia, meta!lic- 
glazed vase found at, 317; mirror 
from, 199 

OLTOs, 114 

O_ympiA, pediment groups, 104, 
135, 243; statuettes from, 51 

Onos, use of, 96 

ORACLES, consultation of, subject 
of engraved gems, 209 

ORCHARD PAINTER, 126 

ORCHOMENOS, architectural re- 
liefs from, 36; frescoes from, 32 

OREITHYIA, 182 

ORIENTAL INFLUENCE ON GREEK 
ART, 53-57, 50, 64, 66, 84, 86, 
96 

ORNAMENT, 
Architectural Ornaments, 
Decorative Art Motives 

ORNAMENTAL Motives, archaic, 
86; borrowed from Egypt, 44; 
on Hadra vases, 206; painted 
on finial of Attic stele, 234; on 


architectural, see 
and 


PN DEX 


pottery, 86, 92; see also Deco- 
rative Art Motives 

ORNAMENTS, from furniture, 200; 
from Mycenae shaft-graves, 23; 
in relief on vases, 204; stamped 
on vases, 204 

ORPHEUS, 143 

ORPHEUS PAINTER, 157 

OTACILIA, 305 

OTHRYADES, on gem, 209 

Owl, on coins of Athens, 132 


P 


PACHYAMMOS, discoveries at, 12 

PAIANIEA, 259 

PAINT, see Color 

PAINTED GLASS, 315 . 

PAINTERS, see Attributed Vases, 
and Polygnotos 

PAINTING, on Minoan sarcopha- 
gus, 30-32; omission from history 
of Greek art, 217-218; in the 
Roman period, 217-222, 318- 
S00, Of Vases, JAl, 155, 161; 
see also Black-figured, and Red- 
figured, and White-ground Tech- 
niques 

Parntinacs, Greek, loss of, 230 

PALAIKASTRO, excavations at, 5, 8 

PAUMETIE, 33, 36, 61, 175, 190, 
B20, 24451238, "310, 321, 
327; borrowed from Oriental art, 
86 

PALUDAMENTUM, 300 

Pan, god of Arcadian peasants, 76; 
marble head of, 192; on mirror, 
173 

PAN PAINTER, 122-123 

PANAISCHES, inscription on stele, 
238 

PANAITIOS PAINTER, 118 

PANATHENAIC AMPHORAE, 92, 93, 
95 

PANATHENAIS, 261 

““PANKRATION,” 93 

PANTHER, bronze statuettes of, 
Roman, 300, 313; as decoration, 
55, 66 

Paris, judgment of, 130; see also 
Peitho, and Helen 

Paros, Island of, female torso 
from, 239; marble from, 231 

PARTHENON, aS artistic standard, 


349 


145; sculptures on, compared’ 
152, 154, 165, 243, 250, 251, 274 

PARTRIDGES, On fresco, 20 

PATERA, 108, 176 

PATINA, 108, 136 

PATROKLOS, ghost of, 94 

PEACE, goddess of, see Eirene 

PEGASOS, 132 

PEITHO (Persuasion), 170 

““PELASGIANS,”’ 40 

PELEUs, and Thetis, on mirror, 
175, ON'vase, 94 

PELIKE, 125 

PELOPONNESIAN War, effect on 
Athens, 145-146, 167 

PENELOPE, 109-110 

PENTELIKON, mountain, 
from, 231 

PENTHESILEA(?), on hydria, 122 

PENTHESILEA PAINTER, 122, 127 

PERENNIUS, M., head of Arretine 
pottery establishment, 225 


marble 


PERGAMENE SCHOOL, type of 
Satyr, 197 

PERIKLES, age of, 144 
PERSEPHONE, I10, 185; Perse- 


phone(?), marble head, 268 
Perseus, and Medusa, on vase, 
129; rescuing Andromeda, 318 
PersiA, in fifth century B.c., 100- 
101; in fourth century B.c., 167 

PERSIAN, soldier attacked by 
Greek, 138; subjects on gems, 
164 

PETSOFA, 14 

PHAIDIMOS, 238 

PHAISTOS, 5, 9, 27 

Puaistos Disk, 17 

PHALERON VASES, 60 

PHEIDIAN PERIOD, influence of, 313 

PHEIDIAS, 144-145, 255 

PHILEMON, 226 

PHILINOS, 238 

PuiLtip oF MAcEDON, conquest of, 
168 

PHOENICIANS, 54, 55 

PHRIXOS, ON ram, 142 

PHRYGIA, 308 

PuyLakopl, flower-pot from, 25; 
wall-painting from, 20 

Pic, 75 

PILASTERS, 228-220, 310 

PINS, 331-332; see also Fibulae 

PLASMA, engraved, 131 

Piates, black-glazed, 205 


350 


PLOTINA, portrait of, 300 

PLOUGHSHARE, 202 

PLoutos, god of wealth, in arms 
of Eirene, 264 

POLOs, on vase, 92 

POLYCHROME POTTERY, 12 

POLYGNOTOS, 141, 154 

POLYKLEITOS, Argive 
145-147, 245-240, 255 

POLYPHEMOS, 56, 318 

POLYXENA, 92 

POMEGRANATE, 233, 250 

PompEll, frescoes from, 218-222, 
318-319 

PONIATOWSKI, engraved gems, 228 

PONTOS, 200 

PorpHyry, use of, for sculpture, 
301 

PorTRAIT, busts: bronze, 296 (Ca- 
ligula. [r}), “marble, 212274 
(Herodotos), 291-306, technical 
changes in, 290, 302-303; heads: 
basalt, 292-294, 208, bronze, from 
Susa, 296 (Agrippa [?]), marble, 
281-282, (Epicurus), porphyry, 
301-302; relief, of Lucius Verus, 
303; statues: bronze, 296-297, 
304, marble, signed by Zeuxis, 


sculptor, 


280-281; statuette, bronze, 192— 


194 (Hermarchos [?]) 
PORTRAITS, On gems, 226 
PORTRAITURE, in Hellenistic times, 

192-194, 212, 280, 290, 292; in 

Roman times, 288, 290-306 
“‘POSEIDIPPOS,” portrait statue 

compared to, 280 
POSEIDON, 75, 98, 152, 158, 172, 

313 
PoTtTery, Apulian, 204-205; Arre- 

tine, 224-226; Athenian: geo- 

metric, 47-51, seventh and 

sixth centuries B.c., 55-67, 

sixth century B.c., 84-96, fifth 

century B.C., III-131, 138-141, 


151-163; Athenianizing, 184- 
187; Boeotian, 61; Bucchero 
(Etruscan), 63-66; Calenian, 
209; Campanian, 205; from 


Canosa, 206; Corinthian, 55-573 
Cretan, 8,°9,-12—16) 24-25 36, 


42-43; Egnatian, 204; from 
Hadra, 205-207; lonian, 62; 
Laconian, 60; metallic-glaze, 
316-317; plastic, 58; Proto- 


LN DEX 


Attic, 58-60; Proto-Corinthian, 
57-58; Rhodian, 61-62; Roman, 
224-226, 316-318; from Sardis, 
322; South Italian, 184-187; 
terra sigillata, 317-318 

PRAENESTE, type of mirror found 
at, 198 

PRAESOS, terracottas from, 82 

PRASIAE, 258 

PRAXITELES, characteristics of 
work of, 1609, 215-216, 266; 
Hermes of: compared, 170, 270- 
272, ‘copied: “in jiresca,ats 2 
influence of, 191, 266; marble 
head in style of, 270 

PRIAM, 114-116 

PRIAPOS, 201 

Priest-KING OF Knossos, 33 

Priests, Roman, 310, 314 

PROCESSION, 160 

PROMETHEUS, 176 

PROTHESIS SCENE, 88, 162-163 

Proto-ATTIc WARE, 58-60 

PROTO-CORINTHIAN WARE, 57-58 

PROTOME, 136 ¢ 

PROVIDENCE PAINTER, 125 

PSEIRA, 5,9, 0.12325 

PsyKTER (wine-cooler), 114 

PTOLEMIES, on coins, 188, 210 

PyGMIEs, 88, 207 

Pyxis (toilet-box), 94, 124, 130, 
150, 207 


Q 


QUARTZ, 325 
R 


RABBIT, 92, 314 

Ram, head of, 310, 327; Phrixos 
on, 142 

REALISM, in Hellenistic period, 
190-191, 195, 197; 275-276, 282; 
in Roman period, 288, 291, 292, 
299, 304 

RepD-FIGURED TECHNIQUE, I1I2- 
113, 116; basis for wee 
pottery, 184; combined with 
black-figured on white ground, 
129 

RED-FIGURED VASES, 
138-141, 151-161 

REINDEER, 326 


111-131, 


IN DEX 


RELIEF, decoration on vases, 202= 
203, 204, 206, 207, 224, 316 

RELIGION, Minoan, 32 

RELIGIOUS SCENES, on gems, 209 

REMUS AND ROMULUS, with wolf, 
210 

RENAISSANCE, artists, debt of, to 
antiquity, 319; engraved gems 
of, 227-228; stucco reliefs of, 
compared, 319 

RepoussE RELIEFS, 148-140, 172- 
174, 326, 328 

REPRODUCTIONS, Cretan, work of 
H. Bagge and M. E. Gilliéron, 
6 


REPUBLICAN PERIOD, to 31 B.C. 
portraiture, 290-294 

REVELERS, on vase, 124 

REVETMENTS, 82 

RHODIAN PoTTERY, 43, 61, 62 

RuyTon, head of bull as, from 
Knossos, 34 

RINGS, see Finger-Ring 

Ropo, workman on Arretine vot- 
tery, 226 

RoMA, 210 

ROMAN, art: characteristics of, 
286-288, 290-291, 2904-295, 209- 
301, 306, 310-312, copying Greek 
works, 245, 286, 289, 301, 306, 
313, portraiture, natural ex- 
pression of, 288; Empire: extent 
of, time of Augustus, 284, rise 
of, 190; house, typical arrange- 
ment in Imperial times, 218- 
219; interest in antique collect- 
ing, 288;.literature, modeled on 
that of Greece, 286; portraits, 
stylistic development of, 294- 
295 

RoMAN Court, 288-320 

RoME, conquests of, 189-190; 
controlling power of Mediter- 
ranean, 190; as an_ empire 
builder, 284-286; influence on, 
of Greek culture, 190; rising of 
power of, 189; tomb-chambers 
in, use of stucco ornamentation 
in, 319 

RoMULusS AND Remus, with wolf, 
210 

Rosettes, in architectural reliefs, 
36, 239; gold, 326, 328, 331, 333; 
on phiale, 172; on table, 310 


391 
S 


SACRIFICIAL SCENES, 200, 225 

SAFETY-PIns, see Fibulae 

SARCOPHAGI, counterpart to Greek 
grave reliefs, 311; examples, 311- 
312; urns. in shape of, 202 

SARCOPHAGUS, Klazomenian, 82; 
limestone; from Hagia Triada, 
30-32 

SARDIS, 321-324 

SARDONYX, cameo, 200, 315 

SATYR, on Arretine stamp, 225; on 
bracelet, 195-196; bronze statu- 
ettes and reliefs, 77, 197, 199- 
200; On cameo, 315; on coin, 
165; Hellenistic, 147; with in- 
fant Dionysos in fresco painting, 
222; marble head of, 282; on 
mirror, 175; terracotta relief, 
319; On «Vases, SO, 92, 05,4121- 
125, 127-120, 158, 317 

SCARAB, 132, 165, 209 

SCARABOID, 164, 208 

SCHLIEMANN, discoveries of, 4, 23, 
42 

Script; see Writing 

ScULPTURE, chronological arrange- 
ment, 232; Cretan, 10,°20-22, 23, 
34, 35; highest expression of 
Greek art, 230; “limestone, 79; 
238, 242; marble; 10, 70, 100— 
109, 146-148, 169-170, I9I- 
192, 211-215, 228-220, 232-283, 
291-313, 321-322; see also 
Bronzes, and Terracotta 

SCYTHIAN, costume, on mirror, 
173; style of jewelry, 326 

SEAGER, R. B., discoveries of, 5, 


SEAL ENGRAVINGS, IO, II, 12, 15, 
16, 26, 27, 44 

SEILENOI, bronze statuettes and 
reliefs, 77, 173-174; masks of, 
116, 314; on vases, 116, 120, 158 

SELENE, 312 

SERAPIS, on engraved gem, 208 

SHAFT-GRAVES, at Mycenae, 4, 23 

SHAPES OF VASES, 85 

SHEEP, 312 

SHEPHERD, 312 

SHRINE, fourth-century  giave- 
stone in form of, 256-259 

SiciLy, bell-krater from, 184 


352 


SIGNATURES OF ARTISTS, on gems, 
165; on statue, 281; on vases, 96, 
119,120, 1247°155,0225 

SILVER, bracelet, 195-196; cups, 
108, 200; eyes and teeth in 
bronze statuette, 196; head of 
bull, 23; inlay in bronze rim of 
table, 310; mirror, 199; objects 
from tomb group, 176, 334; pan- 
ther statuette, inlaid with, 309- 
310; phiale, (172; strigil, 4174; 
used by Greek sculptors, 230 

SILVERED FIGURES, on mirrors, 
174 

SIME, 175 

SIREN, 55, 107, 142, 260, 311-312, 
327 

SISTRUM, ON vase, 21 

Skopas, characteristics of work of, 
272-274; head in style of, 272- 
274; heads by, from Tegea, 274 

SKYPHOS, 92 

SLAVE, 179, 259 

SMYRNA, 200 

SNAKE GODDESS, costume of attend- 
ant of, 42; of faience from 
Knossos, 13 

SOKRATES, tendency of teaching, 
168 

SOLDERING WITH LEAD, 238 

SopHists, tendency of teaching, 
168 

Sorrow, see Greek Art, emotion in 


SOSTRATE, Inscription on. stele, 
258-259 

SOSTRATOS, inscription on stele, 
259-260 


SOUTH ITALIAN VASES, 184-187 
SOUTHERN ITALY, vases decorated 
with reliefs and statuettes found 


in, 206-207 
SOUTHERN RussiA, jewelry found 
in, 326 


SPARTA, ascendancy over Athens, 
167; defeated by Thebes, 167; as 
leading Greek state, 100; pot- 
tery from, 60; rule of, 167 

SPATA, 238 

SPHINX, 79, 82, 238, 260 

SPINNING, representation of, on 
vases, 124, 157 

SPIRALS, 23,.25, 32,33, 30,.39 

SpouTs, 82, 140 

STAG, on engraved gem, 
terracotta statuette of, 80 


164; 


INDEX 


STAMNOS, 126, 128 

STAMPS, Arretine, 224-225 

STATERS, 166, 188, 322 

STATUES, erection of, to prominent 
men, 280; see also Sculpture 

STEATITE, bull’s head from Knos- 
sos, 34; casket from Mycenae, 
37; libation table, from Dik- 
taean cave, 34; vases of, 20-22, 
37 

STELE, 160, 232-234, 236-230, 
248-251, 256-264, 322; painted, 
from Hadra, 192 

STESIKRATES, inscription on gem, 
164 

STIRRUP-VASE, 24 

STONE, Age, Late, beginnings of 
Cretan civilization in, 6; urn, 
203; vases, Minoan, 9, 25-26, 35, 
36, 37; -work. architectural re- 
liefs, 36 

STONES, precious, importing of, 
and effect on jewelry, 208, 325- 
326, 329 

STRAINER, bronze, 142 

STRIGIE,; F170) 250: 
antiquity, 150 

Stucco RELIEFS, as decoration of 
Roman houses, 319 

Susa, portrait head of Agrippa(?) 
from, 296 

“SUTHINA,” 176 

SYLEUS PAINTER, 126 

SyriA, kingdom of, established, 
189 


use of, in 


ti 


TABLE, 310; support, decorative 
work of, 310 

“Tabula Iliaca,” 312-313 

“TANAGRA,” origin of term, 176- 
177 

TANAGRA STATUETTES, character- 
istics and examples, 176-183; 
compared, 200-201; forgeries of, 
182-183; use in antiquity, 180- 
181 

TANGS, of mirrors, 174 

TARENTINE STATUETTES, 200-202 - 

TARENTUM, marble head from, 
170; pottery from, 62; statuettes 
from, 200-202 

Tarsus, Roman sarcophagus from, 
312 


DNeD EX 


TEANO, vase from, 205 

TEISANDROS, 250 

‘TELEMACHOS, 110 

TEMPERA, 206-207 

TERRA SIGILLATA WARE, 317-318 

TERRACOTTA, antefixes, 79, 82, 
203-204; figures as ornaments 
for vases, 182; heads, 67, 70, 
111, 236; masks, 79; moulds, 
151, 202, 224-225; objects from 
Sardis, 322; perforated disks, 
202; Ttelicfs, 67, 109-110, 142, 
319, 320; sarcophagus, 82-83; 
statuettes, 80-82, 109, 176-183, 
200-202, 217 

TETRADRACHMS, 166 

THALNA, 175 

THAMYRIS, 156 

THEBES, ruler of Greece, 167; 
terracctta head from, 67; wall- 
painting from, 32-33 

THESEUS, 92, 123, 
Theseus(?), 149 

THETIS, 94, 175, 184 

THOoLOos, Epidauros, fragment from 
frieze, 170 

THRACIAN, 
woman, 121 

THRACIANS, 143 

THRONE OF Minos, cast of, 36 

THYMOKLES, 258 

TIGRANES, inscription on Arretine 
ware, 225 

TiryYNS, discovery of, 4, 32; fresco 
painting from, 33, 41 

TOILET SCENE, On mirror, 174 

TOMBSTONES, See Stele 

Toots, 38, 39 

Torso, 146, 242-246, 247, 266, 


158, 312; 


lyre-player, 150; 


ToRTOISE, 98 

Toys, diminutive vases as, 65, 95, 
158-159 ; 

TRAJANIC PERIOD, 98-117 A.D., 
300 

““TREASURY OF ATREUS,” 36, 41 

“TREASURY OF MinyAs,”’ 36 

TRIBUTE LisT, 146 

TRIPOD, 76 

TRIPTOLEMOS, 248 

TRITON, 91, 95, 209 

TROILOS, 92 

Trojan, plain, 94; war, 312-313 

Troy, excavation of, 4 


28 


TsounrTas, discoveries of, 4 
TYLisos, 34 

Types In ArT, 69 
TYRANTS, 68, 100 
TYRRHENIAN WARE, 60 


U 


Urns, Etruscan, 202-203 
UTENSILS, bronze, 78, 108, 142 


? 


150 
Vv 

VALERIAN, 301 

VALLADOLID, Spain, statue of 


Herakles from, 280 

VAPHIO, cups, 23; discoveries at, 4 

Vases, shapes of, 85; see also 
Pottery, and Athenian 

VASILIKI, 8 

VENUS GENETRIX TyPE OF STAT- 
UE, 251-252 

ViA LATINA, stucco decorations of, 
compared, 319 

VICTORIA, on engraved gems, 227 

Victory, in chalcedony, 332; in 
gold, 331; flying, terracotta 
statuette, 201 

VILLA GIULIA PAINTER, 128 

VoLUTE KRATER, handles from, 
147 

VOTIVE OFFERINGS, of bronze, 51, 
52, 105, 147; from Diktaean Cave, 
38; of lead, 67; marble statues: 
of draped female figures, 242, 
of goat, 309; Minoan girdles, 
robes, and shields, 14; of terra- 
cotta, 80 


W 


WACE, excavations of, 6 

WALL-PaInTING, Minoan, 19-20, 
28-30, 32-34, 41-42, Egyptian 
impulse in, 44; see also Frescoes 

WARRIOR VASE FROM MYCENAE, 
43 

WARRIORS, 82, 127, 128, 132, 154, 
165; see also Amazons, Battle- 
Scenes, and Greek Warrior 


WasH-BASIN, 164 


354 


WASHING PAINTER, 157 

WATER-JAR, see Hydria 

WATER-SPOUT, 82, 140 

Wax IMAGES, of deceased, in- 
fluence on portraiture, 290-201 

WEALTH, god of, see Ploutos 

WEAPONS, 14, 15, 23, 38, 30, 52, 
67, 79, 138 

WEIGHT, Minoan, 37; on vase, 124 

WHITE-GROUND TECHNIQUE, 94~- 
95, 129-131, 161-163 

WINGED, Athena, 165; deity, 165; 
female figure, 131; gceat, from 
Oriental art, 66; horses, 329; 
lion with human head, 66; mon- 
sters, 55; panther, 66 

WOMAN WITH’ CASKET, 
painting, 41 

WoMEN PutTING AWAY CLOTHES, 
120, 155 

Woop, used by Greek sculptors, 
230 

WRESTLERS, bronze statuettes as 
handles of cistae, 197-198 

WriTInG,- Minoan, 10, 15-17, 25- 
26 


wall- 


INDEX 


me 


Yourtu, bronze reliefs and statu- 
ettes of, 75,776, 109)" 100, 1a, 
146-147; on coin, 187; on en- 
graved stone, 97, 131; head of: 
bronze, 106, marble, 170, 295, 
300, terracotta, 319; in marble 
sculpture, 146, 233, 234, 246- 
248, 255; on ornament, 150; 
playing the lyre, 90, 120, 122; on 
vases, 88, 90, 114, 119-120, 122, 
128, 138, 152, 154, 156, 162 


Z 
ZAKRO, excavations at, 5; one- 
handled vase from, 25; pros- 


perity of, 19 

Zeus, bronze statuettes of, 313, 
314;. characteristics associated. 
with, 244; on sarcophagus, 311; 
on vase, O1, 1235 Zeustrjs 7s: 
244255 : 

ZEUXIS, inscription on_ portrait 
statue, 281 

ZYGOURIES, excavations at, 6 


OF THIS NEW AND ENLARGED EDITION 
OF THE CLASSICAL HANDBOOK 
2,000 COPIES WERE PRINTED 

JANUARY, 10927 


GerTy CENTER LIBRARY Ps 
$s ws Mae 27 
opolitan Og 
Handbook of the sheeateal Y collection. 


INNO 


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